![]() ![]() It is a continuation of her explorations of sound and improvisational dialogue. Mori’s most recent recording, Tracing the Magic (2022), consists of seven pieces inspired by women artists who continued creating new work well into their eighties and nineties. Each musician maintains a distinct sonic identity, even as they create a new sound in combination. ![]() It incorporates quotidian sounds produced by toys and homemade acoustic instruments. A Mountain Doesn’t Know It’s Tall (2021), a collaboration with Fred Frith, is inspired by a related Zen Buddhist project. In the resulting pieces, acoustic and electronic sounds are sometimes discordant and at other times complementary. Working in isolation in New York and Japan, each player recorded their parts separately and sent them to each other for completion. Prickly Pear Cactus (2020) is a collection of tracks developed with pianist Satoko Fujii and trumpet player Natsuki Tamura during the pandemic. Mori is a prolific and sought-after collaborator, and she has recorded and performed with artists and improvisers from a range of musical genres. The resulting collection of electronic sounds and clicks (or electronic glitches) that make up her meandering loops lends texture and color to her music, ranging from the ethereal to the jarring and surreal. By randomizing the pitch or intensity of the onset and endings of looping patterns, she injects variability into improvised performances. Mori's compositions are characterized by looping patterns and layers of digital sound fragments. Laptops enabled more expansive pattern sampling, and they allowed her to incorporate visual elements, including animation, into her work. As the processing capacity of laptop computers increased, Mori began using them almost exclusively. She first adopted drumming machines (programmable electronic devices that generate percussive rhythms) that gave her the ability to improvise and to mix live and prerecorded sequences. She soon moved from acoustic percussion to digital performance. Originally a drummer with the seminal no wave band DNA, Mori’s early work featured driving rhythms influenced by Japanese taiko drumming. Over her five-decade career, Mori has transformed the use of percussion in improvised music and inspired generations of electronic musicians. She creates rhythmic and ambient soundscapes using digital processing techniques, a laptop computer, and repurposed elements of electronic drumming equipment. ![]() Ikue Mori is an electronic musician expanding the range of sonic and technical possibilities for experimental and improvisational music. ![]()
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