Kaho Matsui did not file and launch music till three years in the past, however the Portland artist’s discography has already grown to epic scale. Her de ella Bandcamp web page de ella averages one launch a month, and her de ella stylistic breadth de ella is staggering, from ambient music based mostly on subject recordings to rave music with dizzying drum programming.
You would be forgiven for seeing this prolificacy as a method 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 in the meanwhile the music was made .
“I take it as a journaling scenario,” Matsui says. “I do not spend over per week on an album as a result of I would like it to be like, here is what is going on on proper now.”
Amid this dense cloud of albums, EPs, singles, collabs, and one-offs, her new album, No Extra Losses, stands out. It is her de ella first launch de ella of 2023, clocks in at a sturdy 45 minutes, and is shock-full of collaborations with different musicians from her circle of buddies and past.
Although the density of visitors would possibly appear to be a method to set up No Extra Losses as a kind of tentpole launch, standing above the shorter and jokier tasks with which it rubs elbows on Bandcamp, there is a purpose for its collab-heavy strategy that ties in with Matsui’s diaristic fashion.
“I am attempting 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 loads of ties with folks since shifting right here. I would prefer to not lose any extra issues—materials objects or interpersonal relationships.”
The concept, then, was to make a file with buddies. “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 12 months and nonetheless have not recorded music with them, it turns into like a scenario of, hey, we must always file music generally, and all of us clean on it. So I needed to make a core reminiscence, I assume.”
Among the many album’s 9 credited options, the identify most individuals versed on the earth of experimental music will acknowledge is that of Extra Eaze, aka Mari Maurice Rubio, the Austin-based artist identified 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 appeared as much as [Mari] for therefore a few years, so it is sort of surreal that she was like, ‘Oh, I listened to your music, it is superb,’” Matsui says. “And I am like, ‘No method.’ After which she’s like, ‘We must always collab.’”
Extra Eaze’s music has been pegged as “emo ambient,” after the fashion of rock music that emphasizes emotional expression. Matsui feels a kinship with the time period as effectively. Although Matsui says her de ella music de ella is extra “emo in how I am presenting an concept, in a roundabout way referencing emo music,” her guitar enjoying de ella is influenced by the spindly fashion pioneered by Midwestern emo bands like American Soccer.
But to take heed to Matsui’s music is to interact with practically all the things that is entered her ears in her 26 years on earth. Matsui was born in Japan to a musical household; Ella’s mother was a piano instructor, and Ella’s brother is a “prodigy individual” with a level in jazz research. Rising up, she loved steel and digital dance music, each of which nonetheless influenced her work.
“Issues like steel and EDM have a really lower and clear ‘here is the place it builds up, here is the place it drops,’” she explains. “I like that, it is considered one of my favourite issues. I like a drop.”
In elementary college, Matsui and her household moved to San Jose. When she turned 18, she moved to Portland and bought a grueling job at Legacy Emanuel Hospital cleansing working rooms and enjoying exhibits of “harsh noise music” when attainable.
“Working on the hospital I made some huge cash, and I used to be like, oh, that is nice, I must 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 buddies, I wasn’t doing something apart from work,” she mentioned. She give up her job across the similar time a gaggle of buddies from the Bay Space got here up for a rave and stayed at her home.
“We talked rather a lot about making music, and loads of the folks that stayed at my home had been in bands or doing recording tasks,” she says.
A few of these buddies had been a part of a label referred to as the Norm Corps, for which Matsui has made a number of recordings—together with S/Ta tribute to Norm Corps co-founder Paris Alexander, aka Golden Boy, who handed away in 2021 and loved the kind of uptempo, polyrhythmic rave music that includes the majority of the album.
With the assist of her buddies and ample time on her palms to create music, Matsui had a revelation: That is what I need to do. She’s nonetheless doing it, and by the point you learn this, it is seemingly she’ll have two extra albums up.
“I would like people who find themselves listening to my music to grasp that that is all stuff that is occurring,” Matsui says. “And if I do not launch music for 2 months, it is simply that nothing is happening.”