Bannetoriko & Salmonella “Kagefumi”/ばねとりこ&サルモネラ「影踏み」


好評発売中の カップリングCD、Banetoriko & Salmonellaの”Kagefumi”の完成品が先日届きました。ばねとりこが3トラック、Salmonellaさんが4トラック、コラボ1トラックを含む全8トラック。Salmonellaさん運営のレーベルObake Kobouからのリリースです。




このCDではわたしの曲とSalmonellaさんの曲が立ち替わり現れるのですが、全体としてとてもよくまとまっていると思います。不穏な気配や異世界の断片、白昼夢のような心象風景は、当事者から聴いてもなかなかない独自の雰囲気ではないかと自負しております。これをまとめあげ、ジャケのデザインもしてくれたSalmonellaさんや、マスタリングをしていただいたKenji Kurodaさんに大変感謝しております。

Banetoriko & Salmonella “Kagefumi” is now on sale! Banetoriko share three tracks, and Salmonella shares four tracks. In addition, one track of dazzling collaboration in this CD. This is a release from ObakeKoubou, a label run by Salmonella.

I picked “Maikubi” for featured yokai. Maikubi is heads of three villain, Koheida, Matashige, and Akugoro. They started arguing on gambling with doubt and suspicion among each other. The argument became bloodshed, three of them beheaded each other and fell into the sea. Later, their greed became a yokai, which three heads blowing fire and waltz together.

The order of the tracks on this CD takes turns between Banetoriko and Salmonella. The whole is coming together very well. The impression – uneasy mood, pieces of parallel world, noise-scape of day-dreaming – is highly unique, even if I say so to myself. Many gratitude to Salmonella, who did also wonderful jacket design, and Kenji Kuroda,  who did mastering.

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Live Diaries (4) / ライブ日記(4)

Banetoriko had a live performance at A Noisy Solstice. This event was organized by, Gil Kuno. I played at Riverside the day before, so I was a little tired. But I think I had most emotional play I have ever had. Here’s the new video!

ばねとりこは先月22日にA Noisy Solsticeに出演しました。二夜連続ということもあり、疲れ気味でしたが、念のこもった演奏ができたと思ってます。これがそのビデオ!

The yokai of the night was Iyaya.






Not so much information is left about this yokai. This yokai is said to Sekien’s (the yokai drawing artist in Edo era) creation, but it’s very uneasy image. What does she feel watching her reflection on water?  And what does that sluice mean?

I felt this yokai was talking to me. So I was her medium that night.



I always feel purified after Banetoriko’s live. That night was also the case.

✻                             ✻                         ✻


The highlights of other appearances are:


Opening is GX Jupitter-Larsen.

This time is not under The Haters, but as GX. The picture shows his latest noise-instrument, which is pumping suit case! His repeating style of noise is the summit of all repeatist are looking for. I felt like I heard noise like heartbeat a little bit. This image shows indisputable ultimacy of his style of noise.



次はテレケイブズ。お美しい女性デュオです。わたしの注目しているノイズバンドで、その名の通り、遠隔洞窟音としかいいようのない質感の音のアンビエントなノイズ。とにかく音がいいのです。多数のエフェクト、音楽のこぎり、ギター、テルミンや、テープで織りなす地底音像は、他とは一線を画すと思われます。どんな音か聴きたい!方はここをクリック。この夜の写真を撮れなかったので、先ほどThe Handbag Factoryで行われたライブから。

The next is Telecaves. Duo by two beautiful women. This is one of my favorite band, As their name refers, their moody noise can be described only as sound of tele-caves. The texture is so beautiful. Their noise-scape of underneath the earth which is processed by many effects, guitar, musical saw, and others is unlike anything I have heard before. It’s crawling and echoing in inner-cave and outer space. To listen their sound, click here. I don’t have their photo from that night, so this picture is the  one from the live at The Handbag Factory in May.



This is Kuno-Kano, by Gil Kuno and Shoshi Kanokohata, who is a shakuhachi player and ceramic artist. They created subtle and profound sound-scape by processing sound of shakuhachi with the computer. When it comes to noise and shakuhachi, I instantly think about Organum. However, Kuno-Kano’s yugen (subtleness and profoundness ) was not that kind of. As Kio Griffith’s video projection shows, I felt slow heat rising up.



そしてトリを飾ったのがデミアン・ロメロ。マイPAを持ち込んでの重低音ノイズはスペース全体が共鳴する楽器と化し、パワフル。もっと聴きたい! LAノイズ界の重鎮です。長年続けていらっしゃるLAのラジオKXLUのDJで、ノイズを紹介されております。日本のノイズも数多く紹介され、わたしはそこで灰野さんのハーディガーディの音を聴いて、愕然としたのです。低音というのはとても面白いと思います。昔、発電所のタービンの低音を聞いて、気持ち悪くなったと思えば、このように気持ちよくなる音もあります。

The final act was Damion Romero. He brought his own PA system. The low-frequency pulse engulfed the entire place, resonated, and the whole room became one instrument. Powerful. I wanted to listen more. He is one of the Los Angeles’ finest noise artist.  He continues his great contribution for noise scene, LA, which is playing noise as DJ on KXLU. Also, he introduced many Japanese noise. That show was where I heard Keiji Haino’s Hurdy-gurdy piece for the first time. I was astonished and blown away. I found the low frequency noise very interesting. One time, I had an opportunity to visit an power plant. The low-pitch noise from the turbine made me sick. On the other hand, like his noise, some of low noise feels good.




Live Diaries (2) / ライブ日記(2)

Banetoriko had a live performance on Wednesday, May 21st.

The artists from Ohio had to cancel their tour. Then big names filled in the slots – the session by open-reel tape guru, Joseph Hammer, a sound and video artist Gil Kuno and the actor, Vincent Gallo. Also, Puce Mary from Denmark. LA’s new guitar noise artist, Kiran Arora.

Many, many people showed up to see Mr. Gallo. I got a little nervous with such a huge audiences I have never experienced.

The first performance was me, Banetoriko. A yokai of the night was “Funa-Yurei” (ghosts of ships). I played the requiem for their grudge and vengeful spirits of those who drawn into water. My voice and a little dance movement naturally came out of me. I felt it was very emotional set. I was very grateful with the warm applause after my performance.

The next up was Kiran Arora. His guitar-play was speeding block of noise from his whole body, engulfed with red strobe flash. His foot stumps the metal percussion accents the noise. Very powerful enough to cut through the space. It reminded me Japanese noise guitarists, like Keiji Haino.

Then Hammer/Kuno and Gallo. Joseph Hammer plays his open-reel tapes, creating warm sound collage, which blends into Kuno’s radio noise. Gallo lays his simple and withered guitar tone. Their sound was as if I were on a distant planet and hearing the aged noise and nostalgic sound waves from the earth.

The last was Puce Mary. Emitting existential solid noise, she agitates with her effected voice. Her gaze was piercing audiences. It made us to face her noise with the whole spirit. Uncompromising strict power-noise.



オハイオからツアーで来るはずだった対バンのみなさんが、急遽キャンセルになり、そのスロットを埋めたのが、大物の方たちで、びっくり。 LAFMS等で大先輩のテープ演奏グルのジョセフ・ハマー氏、東京やLAでサウンド、ヴィジュアルアートでご活躍のギル・クノ氏、そして俳優のヴィンセント・ギャロ氏によるコラボ・セッション、そしてデンマークからはPUCE MARY、そしてギターノイズの新鋭、KIRAN ARORA。



次に登場したのが、KIRAN ARORA。赤いストロボ閃光に刻まれた身体から繰り出すギタープレイは加速された音塊。足でメタルパーカッションを時折アクセントに織り交ぜ、短いセットではあったもののそれは空間を切り裂くに十分なパワフルさ。灰野さんほか日本のギターノイズの方々を彷彿させるタイプで、あまりロサンゼルスではいない感じで、これからがすごく楽しみな人だと思いました。


トリはPUCE MARY。デンマークのインダストリアル/パワーエレクトロニクス。硬質な実存ノイズのなか、エフェクトが幾重にもかかった不明瞭なヴォイスでアジテーションする彼女の視線は、突き刺さんばかりに観客たちを見つめ、音に真剣に対峙する雰囲気につつまれました。





funayuurei 船幽霊













Banetoriko Live May 21, 2014 / ばねとりこライブのお知らせ

Banetoriko will perform at Mata gallery in Los Angeles, CA on May 21, 2014.




(LA; Tamaki –



10:00PM, May 21st, 2014



For more info, please click here.