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【Facebook

https://www.facebook.com/pages/Kazuma-Kubota/292289394294064?ref=hl


Soundcloud


http://soundcloud.com/kazuma_kubota


Interview


http://www.dotsmark.com/interview_with_KK_jap.html


Toshiji Mikawa(Hijokaidan, Incapacitants) x Kazuma Kubota

http://ototoy.jp/feature/index.php/2013042500

【YouTube








 














【Project】


・Kazuma Kubota

・Cecilia
・The Cracked Mirror



・Bloody Letter(2004-2007) 

(http://www.discogs.com/artist/Bloody+Letter)

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【New!】


・Kazuma Kubota - Sameta Ryouri (C10), New Forces
・V/A "Resistance and Self Destruction are Synonymous" (C??) (Ahlzagailzehguh, Developer, Plague Mother, The Rita, Drug Age, Kazuma Kubota, Wince, Action/Discipline, Encephalophonic, Mordant Karma, Heinz Hopf, and Being), New Forces
(http://www.newforcesnoise.blogspot.jp/)


【Still Available】

・Kazuma Kubota - Dis-Connected(CD), Ninth Circle Music (http://www.sickness999.com/nccat.html)

・Downcasts(Kazuma Kubota + Hakobune) - Necklace(C24), Phage Tapes (http://phagetapes.blogspot.com/)
・Kazumoto Endo and Kazuma Kubota - Gyoen Bedieningshendei(7"), Dead Mind Records (http://www.blutistzeit.nl)
・Kazuma Kubota / S.I.V.(split 7"), Cipher Productions + Underground Pollution Records (http://www.iheartnoise.com/cipherproductions/index2.html / http://undergroundpollution.e-monsite.com)
・Kazuma Kubota - a sense of loss(3"CDr), Pitchphase (http://www.pitchphase.com/
・V.A. Frequency Of Decomposition vol.1(CD), Xerxes (http://www.geocities.jp/xerxes_alpha2001/)
V/A "Creative Destruction"(2xCD), hypnagOgia (http://www.discogs.com/Various-Creative-Destruction/release/3289315)
・Kazumoto Endo and Kazuma Kubota - Switches And Knobs(CD), Phage Tapes (http://phagetapes.blogspot.com/)
・V/A "Hard Panning"(CD),  Triangle Records + Somnolent Shelter Records (http://trianglerecords.blogspot.jp/2014/08/new-release.html)


【Upcoming...】
・Kazuma Kubota - Utsuroi (C30), Amethyst Sunset
・Kazumoto Endo / Kazuma Kubota - TBA(split 12"), [...]dotsmark
・Kazuma Kubota / Guilty C.(split C??), [...]dotsmark
・The Cherry Point/Agit8/Kazuma Kubota - TBA (3waysplit-CD), Cipher Productions
・Bloody Letter - Past (CD), Audio Dissection
・V/A "Night Science V' "(zine & CD) (Niellerade Falibilisthorstar, Consumer Electronics, Kazuma Kubota, Skin Crime, Custodian, Mlehst, Yellow Tears and Anemone Tube), Cipher Productions
V/A "Encyclopedia of 35 years Japanese Experimental Noise Music 1979-2014" (5CD-BOX + 8LP-BOX), Steinklang

【Discography】


・Distorted Aki No Sampomichi(3"CDr), Noise Ninja Records /2008
・Uneasiness(CDr), None /2009
・V.A. Frequency Of Decomposition vol.1(CD), Xerxes /2009
・Kazumoto Endo + Kazuma Kubota - Live Recording(C20), Noise Ninja Records /2009
・Live Recordings(CDr), Noise Ninja Records /2009

・a sense of loss(3"CDr), Pitchphase /2010
・Kazumoto Endo and Kazuma Kubota - Switches And Knobs(CD), Phage Tapes /2011
・Kazuma Kubota + Axonox - s/t(S/Sided C60), Noise Ninja Records /2011
・V/A "Creative Destruction"(2xCD), hypnagOgia /2011
・January Thirty(12" s/side), A Dear Girl Called Wendy /2012
・KKTK(Kazuma Kubota + Tommi Keränen) - Tegami(7"), A Dear Girl Called Wendy /2012
・Kazuma Kubota / S.I.V.(split 7"), Cipher Productions + Underground Pollution Records /2013
・Kazumoto Endo and Kazuma Kubota - Gyoen Bedieningshendei(7"), Dead Mind Records /2013
・Kazuma Kubota - Dis-Connected(CD), Ninth Circle Music / 2013
・Kazuma Kubota - Two of a Kind(CD/EP), [...]dotsmark / 2013
・Downcasts(Kazuma Kubota + Hakobune) - Necklace(C24), Phage Tapes / 2013
・V/A "Hard Panning"(CD), Triangle Records + Somnolent Shelter Records  / 2014
・Kazuma Kubota - Sameta Ryouri(C10), New Forces / 2014
・V/A "Resistance and Self Destruction are Synonymous"(C60), New Forces / 2014

【Reviews】


Kazuma Kubota "a sense of loss" 3"CD-r

fuck!!!!!!!!!! With 3"CDR handed to you at stairway of venue while you walk out, you never expect this! BRILLIANT release put out by american Pitchphase. Most often probably known for pure harsh noise releases, but this, this is something else. 3 tracks, 4:38, 6:51 and 8:26 are their length. First half minute is slightly so-and-so. You wonder if it tries to be glitch noise or drone or electro-acoustic, but suddenly the drive and composition just captures your senses. You could put this artists next to anyone. Any big names of Metamkine 3" series or whatever. It blends together harsh noise, glitch, electro-acoustic, acoustic drones, perfect skills of dramatic compostion and building tracks that actually go somewhere. Only fault of this release is that it's CDR. Instant multiple plays are possible due short playtime. And I can't be sure is it's negative or positive, since while I'd like to hear more, every time I push play, the structure of songs is being absorded into brain little bit better.  - Mikko Aspa (Grunt, Deathspell Omega, Clandestine Blaze, Freak Animal etc...)

KKTK "tegami" 7" 

Extremely good mail collaboration between Kazuma Kubota and Tommi Keranen!! For fanatics of innovative and dynamic harsh noise compositions! - Mikko Aspa (Grunt, Deathspell Omega, Clandestine Blaze, Freak Animal etc...)

Kazumoto Endo & Kazuma Kubota "Gyoen Bedieningshendel" 7"

This is right there on the edge of whether I will declare this collaboration Japanese being great.. or not that great. Why? I have kind of love & hate relationship with silence within noise. When stop'n'go / cut up harsh noise is done with precise editing and short diverse bursts of ultimate energy attack your ears from speakers - it can be some of the best. But when burst last 0,5 seconds, followed with 2 seconds of silence and 1 second bursts with 3 seconds of silence and and ... come on!! Play the noise! It's like puzzle what appears to be great, but the pieces are slightly scattered and it looks like not really put together. I know they must have been timing perfectly and planning the tensions of silence vs. noise, but problem to me is that it never climaxes. Jerks little here and there, but eventually doesn't go to any direction. Sound of noise itself, high voltage electrocution with ultra distorted noise pressure. Too bad the flow is so fragmented... Still - after all critics - in the style, it's still nice 7" to give playtime..  - Mikko Aspa (Grunt, Deathspell Omega, Clandestine Blaze, Freak Animal etc...)

Kazumoto Endo & Kazuma Kubota "Switches and Knobs" CD 

There’s a constant feeling during Switches and Knobs that the track has ended, that each time the clanks, whirs, and harsh lines of feedback die out, Endo and Kubota have effectively ended their track in a flustered twitch of a wrist. And even though the CD lists the track’s runtime, and even though I know that it can’t be true that the piece has ended, each cut-up chunk of sound keeps me glancing at the CD player to see if the track switches to the next.
And perhaps some would argue that the empty spaces of silence on Switches and Knobs is a testament to user error, as though Endo and Kubota have reached a blown-out level of sound where their oscillators refuse to work, where their amplifiers have effectively shit the bed because of that last furious pummeling of buzz and crunch blast. Instead, the two pieces onSwitches and Knobs so effectively utilize the space between noise that each track allows for a critical reading of not just why the artists chose the seemingly random sounds that they did, but why they chose these moments to leave out noise. The space between becomes a gap which the listener must fill in.
Maybe most of us don’t listen in this philosophical way, instead wondering when Endo and Kubota will throw another blast of sound our way. But each space in the track acts as a way to circumvent listener expectations where other cut-up noise doesn’t. Will Endo and Kubota continue the sound? Will they chop the noise differently? What’s next? It’s a discourse between listener and noise that continues to speak as each track diversifies.
One cut on this disc is a studio version of “Switches and Knobs.” Almost a half an hour of cut-up sounds, mostly buzzing harshness and intense feedback sounds that rip and roar between silence. There’s also a live track included, shorter and full of that sense of audience vivacity. Obviously, the studio version feels a bit more polished, but the live version certainly showcases what Endo and Kubota can do in an improvisational environment.
This churning maelstrom is definitely worth spending some time with. The gaps between noise ensure one will find a conversation in there somewhere, even if this is cut-up noise that sounds familiar to those who’ve heard this kind of thing before. - Memory Wave Transmission

Kazumoto Endo & Kazuma Kubota “Switches and Knobs” CD
There are midbrain cells - the novelty detector neurons in the inferior colliculus - that respond to the switching on and switching off of a sound.  Constant sounds, no matter their nature, can be ignored, but any immediate change will rigger those neurons, and snap that listener back to alertness.  This physical reaction has been utilised in the filed of Noise music for more than a decade, and Kazumoto Endo is a particular expert.  His name may be unknown, except to the most dedicated fans, but his contribution to late 1990s Noise was the smash-cut - and ultra-fast edit between sounds.  It’s a style particularly well-suited to recordings.  In a live context, harshness is perceived, in large part via loudness.  But at home, the listener can play back a record at any volume.  While a constant, churning wall-of-sound might turn into a relaxation tape at low playback volume, Endo’s loud/quiet dynamics remain consistently jarring at any volume.  His warp-speed edits between silence and screeching feedback act through juxtaposition rather than through timber alone.  
After a long period of inactivity.  Endo has been coaxed out of semi-retirement by a duo collaboration project with his younger acolyte, Kazuma Kubota (formerly Bloody Letter).  The pair stick fairly closely to Endo’s signature style.  Switches and Knobs finds the pair trading short stabs of feedback over a bed of quiet speaker buzz, the blasts appearing like ragged tears in a sheet of white paper.  There’s no long-term structural development here, just small, interlocking gestures, like the Noise equivalent of a Derek Bailey/ Han Bennink duo with a lot of air in between.  
The CD is divided into two tracks - one studio recording and one live recording.  Throughout the latter, silences are filled with the shouts and giggles of a small crowd of appreciative fans.  Even though Endo’s smash cuts were developed to increase the harshness, and perceived loudness, of his music, his listeners react with jubilation.  Is masochism a trait which connects fans of Noise, or does cerebral overstimulation produce a different kind of biological pleasure, yet unaccounted for in journalism and criticism of Noise? - William Hutson for The Wire 

Kazumoto Endo & Kazuma Kubota "Switches and Knobs" CD 
This album is sick and that’s it. The disc that surpasses many noise and japanoise works in terms of intensity and weirdness and it’s no surprise that this release was one of the most listened discs for quite some time. Both musicians, despite the fact that they are rather active in performing live and plays noise for not so few years (especially this fits when talking about Kazumoto Endo), their discography is not that rich. Two long tracks with the total playing time of almost 45 minutes are in this disc, release by Phage Tapes. Album starts from studio recording of Switches and Knobs. That’s more than 25 minutes of absolutely cut and torn apart noise attack. It’s chaos that distorts your brains and ears. Collage of sounds where every tiniest picture of noise is separated from others by a pause of silence, lasting for several milliseconds. This is the record that you cannot simply enjoy for the brains cannot perceive a single short insane moment of sounds when they are attacked by yet another wave of noises. These waves lead you astray and disturbs through the whole disc, but at the same time it transmits huge amount of information and disc not only does not become boring, but every listening session becomes new test for your mind and imagination. The second part of the disc consists of slightly shorter live record of Switches and Knobs. The sound is dirtier and it’s for good. Seconds of silence are disturbed by screaming of the crowd and seconds of noise are at the first glance identical to the studio recording. Contact microphones, feedbacks, manipulations of noise generators and effects that lead you to more and more severe migraine. Anyways, all these short bursts of madness are joined with not audible, but clearly felt joint of control – noise does not become thin and every sound strikes where it supposed to. This is perhaps one of the main reasons why this disc is one of the heaviest and most interesting works that I’ve got to know recently in noise. Violent, brutal, hardly foreseen and powerful Japanese harsh noise. I’m glad that Phage Tapes released in conditionally big edition so that everyone who wishes to live through this album would have a chance. Truly recommended gem. - TERROR

Kazumoto Endo & Kazuma Kubota "Switches and Knobs" CD
El estilo de hacer noise de Kazumoto Endo bien podría definirse con una sola palabra: espasmódico. En los trabajos que firma bajo su propio nombre, así como en los de sus proyectos como Ryke o Killer Bug, Endo tiende a generar composiciones a partir de concatenamientos frenéticos y virulentas dinámicas que inevitablemente son seguidas por cortes abruptos. "Switches and Knobs" presenta en formato de cd la colaboración entre este monstruo del ruido y Kazuma Kubota, parte de la nueva generación de harshers provenientes de Japón.
El primer corte, grabado en estudio, es pura precisión: los silencios se ajustan perfectamente a las ruidistas intromisiones de ambos participantes. Los masivos golpes que el dueto da al silencio están conformados por plomizas capas de distorsión modulada y aparecen tan súbitamente como se desintegran en el aire. Tras cada andanada de severas descargas de ácidos, férreos sonidos aparecen crudos instantes de vacío ineludible; el silencio se posa como un enorme monstruo, dispuesto a aplastar hasta el más mínimo movimiento. Mientras tanto los intercambios se vuelven cada vez más virulentos, cada vez más hostiles y fugaces, como si con su compulsiva brevedad buscaran dictar la muerte de cualquier estructura.
El segundo corte abunda sobre la misma dinámica pero extrapolada a una presentación en directo. Me cuesta pensar en pocas situaciones tan difíciles como intentar llevar esta carga de discontinuidad formal a un ambiente como éste, sobre todo sabiendo que se trata de una situación en que ambos performers deben operar bajo una precisión tan puntual. El resultado es una recrudescencia que raya en el absurdo, con disparos sonoros de registros aún más sórdidos cuya misión parece ser la destrucción de cualquier tipo de convencionalismo musical. Las incómodas reacciones del público hacen evidente que el de Kubota y Endo se trata de un ideal sónico difícil de abordar y de dar seguimiento y remiten a esos momentos en que el noise solía comprenderse como una perversión, un gusto adquirido incomprensible, absurdo para los adeptos a los rincones más obvios de la melomanía. En este corte cada silencio se vuelve una suerte de abismo cageiano donde las risas y los murmullos tienen su parte proporcional de protagonismo.
Este trabajo conjunto de Kazuma Kubota y Kazumoto Endo resulta más que bienvenido en el contexto actual del noise, mostrándose como evidencia de que aún puede producirse ruido que posea un carácter único y que se aleje, afortunadamente, de las convenciones. - Ruido Horrible 


Kazuma Kubota "January Thirty" 12" s/side

Es bien sabido que los jóvenes noiseros japoneses llevan un peso enorme a cuestas. Los grandes nombres que fungieran como luminarias de la era dorada del llamado japanoise difícilmente cederan su legado a alguien que no esté dispuesto a darlo todo. De los nóveles exponentes circundando aquellos idealizados páramos—algunos fabulosos, ciertamente—Kazuma Kubota ha logrado sostenerse como el más notable. Baste escuchar el recopilatorio “Past” (dotsmark, 2011) de su proyecto Bloody Letter para comprender sus alcances a brevedad.
Optando por dar crédito a su propio nombre en ocasión de su nuevo trabajo “January Thirty”, Kubota aprovecha el reducido espacio que le brinda un solo lado de un 12″ para sustanciar una de las más abigarradas descargas de harsh noise que hayan sido producidas en tiempos recientes. “January Thirty” es quince minutos de andanadas de ruido que reverberan claras y precisas a un grado rayano en lo barroco. Kubota centra el total del aspecto instrumental del trabajo en lineas moduladas y deformadas en vivo.
Kubota rehúye con vehemencia algunos de los artificios más comúnes del género. En vez de escudarse tras paredes de ruido loopeadas o de una distorsión sofocante, produce una serie de sonidos tan prólijos que permiten ver con exactitud las varias disposiciones de las maquinarias que le dan forma a sus movimientos. Las entradas y salidas de delays, distorsiones, cortes de corriente y filtros ligeros son prístinas y permiten ahondar en la maestría con que este ruidista controla las evoluciones que propone. - Ruido Horrible

Kazuma Kubota / S.I.V. (Self-Inflicted Violence) Split7"

Delivered in understated packaging – a simple atmospheric black and white photo on the front and hand-stamped labels on the vinyl – this little release packs a serious punch. It’s good to see the efforts of two labels and two artists coming together so simply yet consistently. Kazuma Kubota is up first with a whirlwind of a track. Kicking things off with excellent industrial atmospheres of machinery and metal sounds, the track suddenly blasts into a miasma of harsh noise mayhem about 2 minutes in. It’s excellently done with stellar production and wicked movement. Really digging the mix of styles and Kubota pulls both off flawlessly. S.I.V. [Self-Inflicted Voilence] is up next with some greatly textured experimental harsh noise. It reminds me a lot of Panicsville with a wide array of sounds, manipulated, distorted, yet lush and expressive. Both artists I am unfamiliar with but as an introduction I can say this is top-notch material. Very creative and unique mix of harsh noise with other styles. - Existence Establishment

Kazuma Kubota "Dis-Connected" CD
Great first proper album from the artist. Essential for anyone into hi-fi fast cut-up harsh noise. Work sounds strongly influenced by technics developped by Chris Goudreau, Kazumoto Endo & Kevin Novak and sometimes, one wonder if it isn't a collaboration of the 3 but, hopefully, KK infuses his own mood into the mix. Harsh cut-up at its finest. - Benjamin Clement (Tourette. Foyer Second)

Kazuma Kubota "Dis-Connected" CD
Published by Ninth Circle Music in 2013, “Dis-Connected” is an extremely well composed and astonishingly produced record which shows how much the genre still has to offer.
Kazuma Kubota can be considered a relative newcomer, although he’s already managed to get to the top of the game. I think I became familiar with his works in 2009 when I picked up a copy of “Uneasiness” (Self-Released, 2009). I remember thinking that this is going to be the next big name in noise and turns out I was right. I did not however anticipate the fact that he would grow so quickly. Kubota’s early works were impressive, but nowhere nearly as good as the contents of “Dis-Connected”.
I’m not even going to try to dissect and describe the contents of the 11 tracks contained on the CD. I will point out though that putting the fantastic “Solitary Butterfly” at the beginning of the CD was a perfect choice as it sets the tone for the whole album. The way the track starts with a dense, distorted synthy tone which later breaks down into scattered pieces of noisy textures which fade out in order to make room for a melodic movement just does it for me. I could listen to that track over and over again, it’s simply perfect.
The inlay says that the album was mastered at Ninth Circle Studios and you can definitely tell that there’s a certain aspect of the way it was produced which makes it sound a bit like Sickness, particularly in the lower range. The bass frequencies are pronounced and yet soft and rounded (for lack of a better term). As expected, there’s a lot of hard panning going on and certain parts of the tracks are drowned in reverb which makes you feel like you’re being thrown around different rooms which only adds to the confusion caused by the ever-changing aural kaleidoscope.
A must-have. - harshnoise.org