◎ インプロヴィゼーションな日常、虚空に交錯するヴィジョン。

◎ jugzのコニシヒサカズ（banjo）とdislocationの t.okazaki（electronics）の全即興ユニット、knot+over ノット・プラス・オーヴァー。
 knot+over
improvisation duo
h.konishi : banjo
t.okazaki : elecronics



▽ //// released from Public Eyesore (USA)
live :






file (mp3) :
■01　Excerpt from Live at Gallery Ray, May 16, 2007




reviews :

(Aiding & Abetting no 257)
An experimental duo improvising on banjo and assorted electronics. The sort of extreme mind trip that few on this planet can withstand. But hey, I like the stuff, and this album gave me plenty to think about--which is exactly why I listen to this kind of music. Let go of the conscious self and surf the dark energy.
Jon Worley

(Touching Extremes 10/17/2004)
The odd coupling of banjo and electronics is the mould for some placid improvisations by this Japanese duo. In such a situation, no preconception is allowed about problems of "style" and after listening to these tracks, recorded live in 2004, I'm not left much the wiser about a definition. Let's just say that the banjo is approached with a koto-like technique of pluck and arpeggio, without caring too much about modulation or clean fingering; the electronics are constantly present, always shifting to fluttering repetitions and stoned textures. All this makes for several enjoyable segments in a music that, strangely enough, accompanied my activities as an almost relaxing background, even if you couldn't really say that it's "beautiful". - Massimo Ricci

(Vital Weekly no 431)
Knot+Over is also a duo, of H. Konishi on banjo and T. Okazaki on electronics. It's of course easy to compare this with Nogami, but there are considerable differences. First of all, Knot+Over play four long tracks but, more important, through out these four tracks, the balance is well-kept between banjo on one hand and the electronics on the other. I think the electronics must be mainly understand as sound effects being applied to the produced banjo sounds, and not elaborate computer processings. Although I thought the ideas were quite nice, I also though that two tracks, say roughly the first half of this disc, was enough to please and the second half was a mere repetition of the same idea.
Frans de Waard