Kaho Matsui didn’t report and launch music till three years in the past, however the Portland artist’s discography has already grown to epic scale. Her Bandcamp web page averages one launch a month, and her stylistic breadth is staggering, from ambient music primarily based on subject recordings to rave music with dizzying drum programming.
You’d be forgiven for seeing this prolificacy as a approach to make up for misplaced time, however the 26-year-old sees all her work as a part of an ongoing thread that displays the occasions in her life for the time being the music was made.
“I take it as a journaling scenario,” Matsui says. “I don’t spend over per week on an album as a result of I would like it to be like, right here’s what’s occurring proper now.”
Amid this dense cloud of albums, EPs, singles, collabs, and one-offs, her new album, No Extra Losses, stands out. It’s her first launch of 2023, clocks in at a strong 45 minutes, and is chock-full of collaborations with different musicians from her circle of mates and past.
Although the density of friends may appear to be a approach to set up No Extra Losses as a form of tentpole launch, standing above the shorter and jokier initiatives with which it rubs elbows on Bandcamp, there’s a cause for its collab-heavy method that ties in with Matsui’s diaristic model.
“I’m making an attempt to maneuver out of Portland by the tip of the summer time,” Matsui says. “After which I take into consideration if I transfer after which one thing occurs and I miss it. I’ve severed plenty of ties with individuals since shifting right here. I’d prefer to not lose any extra issues—materials objects or interpersonal relationships.”
The concept, then, was to make a report with mates. “Come and See” options artists Kevlar Marriage ceremony Gown, Snairhead and Wyatt Murphy, all of whom are roommates of Matsui’s girlfriend.
“They’re all nice musicians,” Matsui says. “If I transfer on the finish of this yr and nonetheless haven’t recorded music with them, it turns into like a scenario of, hey, we should always report music generally, and all of us clean on it. So I wished to make a core reminiscence, I suppose.”
Among the many album’s 9 credited options, the identify most individuals versed on this planet of experimental music will acknowledge is that of Extra Eaze, aka Mari Maurice Rubio, the Austin-based artist recognized for her eclectic catalog and use of the violin to create a one-person orchestra, as she does on Losses’ “I Wish to Depart Proper Now.”
“I’ve regarded as much as [Mari] for thus a few years, so it’s type of surreal that she was like, ‘Oh, I listened to your music, it’s superb,’” Matsui says. “And I’m like, ‘No method.’ After which she’s like, ‘We must always collab.’”
Extra Eaze’s music has been pegged as “emo ambient,” after the model of rock music that emphasizes emotional expression. Matsui feels a kinship with the time period as nicely. Although Matsui says her music is extra “emo in how I’m presenting an concept, in a roundabout way referencing emo music,” her guitar enjoying is influenced by the spindly model pioneered by Midwestern emo bands like American Soccer.
But to take heed to Matsui’s music is to have interaction with almost every thing that’s entered her ears in her 26 years on earth. Matsui was born in Japan to a musical household; her mother was a piano instructor, and her brother is a “prodigy particular person” with a level in jazz research. Rising up, she loved metallic and digital dance music, each of which nonetheless affect her work.
“Issues like metallic and EDM have a really minimize and clear ‘right here’s the place it builds up, right here’s the place it drops,’” she explains. “I like that, it’s one in all my favourite issues. I like a drop.”
In elementary faculty, Matsui and her household moved to San Jose. When she turned 18, she moved to Portland and obtained a grueling job at Legacy Emanuel Hospital cleansing working rooms and enjoying reveals of “harsh noise music” when doable.
“Working on the hospital I made some huge cash, and I used to be like, oh, that is nice, I needs to be, like, actually pleased with my life,” Matsui says. “And I used to be doing actually unhealthy.”
This routine outlined Matsui’s early days in Portland: enjoying gigs, working lengthy hours, shifting backwards and forwards between Oregon and the Bay Space. “I had no mates, I wasn’t doing something aside from work,” she stated. She stop her job across the identical time a gaggle of mates from the Bay Space got here up for a rave and stayed at her home.
“We talked quite a bit about making music, and plenty of the those who stayed at my home have been in bands or doing recording initiatives,” she says.
A few of these mates have been a part of a label known as Norm Corps, for which Matsui has made a number of recordings—together with S/T, a tribute to Norm Corps co-founder Paris Alexander, aka Golden Boy, who handed away in 2021 and loved the form of uptempo, polyrhythmic rave music that includes the majority of the album.
With the help of her mates and ample time on her palms to create music, Matsui had a revelation: That is what I wish to do. She’s nonetheless doing it, and by the point you learn this, it’s doubtless she’ll have two extra albums up.
“I would like people who find themselves listening to my music to know that that is all stuff that’s occurring,” Matsui says. “And if I don’t launch music for 2 months, it’s simply that nothing is occurring.”