Some artists make whole careers out of reinventing themselves. The best ones, you name it from the late David Bowie, to Joni Mitchell or Tom Waits, always leave you guessing just what they’re going to do next. The ones that try too hard, which shall remain nameless, always leave you wondering why they just can’t find their own voice. Then there are those that simply surprise you, those that have fleeting moments in their career where they find another gear and another level (you didn’t know they had in them). Cano Caoli and her cocu* project surely must be the one that fits this final category.
Seasoned Japanese pop music listeners surely must have caught wind of Cano Caoli before. As frontwoman of New Wave music group, Cioccolata, Cano took her background in vocal music education from Kunitachi’s College of Music (and operatic range) and focused it into music with one foot in Italian-inspired futurism and another in angular art pop. Somehow, in the early ‘80s, Cano Caoli and friends were one of those pioneering groups who, in fashion, spirit, and ideas, would help later inspire future Shibuya-kei scene bands that look to them for their decidedly offbeat aesthetics.
When Cioccolata called it quits, sometime in 1985, many thought Cano was predestined for a hit solo career. Yet, for nearly half a decade, Cano laid low and kept putting off that kind of proposition.
Developing her craft as a songwriter and composer, Cano would lend her voice to works by Ryuichi Sakamoto, Holger Hiller, and Jun Miyake, and slowly build up her own knowledge of music production. It wouldn’t be until the early ‘90s when Cano would sign with Sony and take the plunge as a solo artist herself.
If one could qualify Cano’s albums from 1991’s Fine to 1996’s Oh La La it would be as this: adequate. While she took full reins as writer and producer for all those records, the majority of them felt (or at least sounded like) they were trying to fit within the prevalent styles of the time and at worst getting lost to milquetoast creative ideas that sanded down her more experimental beginnings.
It wouldn’t be until Cano was dropped by Sony and found her footing elsewhere, that she started to pump new lifeblood into her career. It was in 1998, under the Ki/oon label that Cano began to experiment with visuals, with music in a way that felt different. A film, inspired by French New Wave was filmed to welcome her back from a two-year long hiatus. Voyage London･Paris･Stockholm the product of her trouble, included music with a higher air of sophistication, complexity, and unpredictability, more befitting what many had expected from her solo career. Yet, this travelog of more “adult” music couldn’t have prepared her fans for what was coming next.
Unbeknownst to her fans, Cano had fallen under the spell of healing music and aromatherapy. Cano wondered: why can’t she create music that inspired the same kind of therapeutic feeling that she got from special oils and scents she’d been creating? Inspired by this thought, Cano would devote time to study such practices, deeply exploring ideas of how “ambience, environmental sounds, and the way human voice” can be used as a healing instrument and the way all of this can be put together to affect us, holistically. For a time, though, she struggled with how to explore this route. Things changed when she met Yutaka Fukuoka (aka Yen Chang).
It was Yutaka’s music that Cano Caoli heard exactly what she was trying to do. Inspired by his albums Ur Word and Ailaa, out of each record she saw something that she wanted to roll into new music. From Ur Word, it was the way Yutaka overdubbed and layered his impressive voice, matching it with unplaceable ethno-grooves to create his powerful thing. From Ailaa, it was the use of field recordings and ambient surround sound that made you feel as if you were right there with him in the various locales he went to. Süja had already shown part of what Yutaka was capable of producing. cocu* (pronounced “kokyuu”) was born the moment Cano reached out to Yutaka and asked him to work with her. She could remain a pop singer but this would be something else…
1998’s aromatica, which you can listen to in its entirety here or there, was created under unique circumstances from March through April, in Tokyo. Technically, Yutaka introduced Cano to a 3D binaural microphone recording rig, engineer Kiyoshi Okabe, had used to help him record “sounds of the earth”. Cano would take her specially-designed sunglasses-mounted microphone and go to forests, rivers, and elsewhere, collecting field recordings they could then weave into the music at his home studio. What was once a thought in Cano’s head, that of how to create contemplative “balcony music” kept slowly (but surely) coming into fruition. This was turning out to music you can feel was of some precious earth.
Creatively, spiritually, and emotionally, the bulk of the record was this collaborative dance between Cano wanting to create music that was both ambient and engaging. Rather than shun engagement, Yutaka appreciated and looked for Cano’s melodic ideas, while Cano trusted that Yutaka could integrate their more out-there experiments and musical textures into the rhythms he created for her music. Thankfully, for us that labor of love was this set of six luxurious songs.
A gorgeous, gorgeous record resulted from the final tapes they submitted as cocu*. One that featured songs like “Opium”, a blend of ethereal, wordless vocals and surround sound ambient pop, that predicted what would be cocu*’s second and final release, sans Yutaka, the equally fantastic (in it’s own way) dreamatica with Boys Air Choir mastermind, Ryouji Oba, just two years later. One that would feature the contributions of other interesting friends, like Kazufumi Kodama and Yoshiko Goshima, that brought their own sensibility to the recording, and in this case it was the floating world of dub and trip hop to their version of innovative communication. A masterpiece of atmospheric healing music, aromatica, promises to be that special taste that carves out its own sense of wonder.
However, for now let’s leave it here and let those who birthed it explain the rest of their story…
INTERVIEW: cocu* (Kano Kaori & Fukuoka Yutaka) – “Sound & Recording Magazine” August 1998 issue
cocu* (pronounced “kokyuu”) refers to singer-songwriter Kano Kaori’s self-produced unit. The debut album, “aromatica,” is a collage of music and natural sounds recorded through field recording from various locations worldwide. The album’s co-producer is the innovative creator of ambient ethno music, Fukuoka Yutaka. The sound world of cocu*, enriched with Kano Kaori’s new charm, has been meticulously crafted. We interviewed these two individuals about how this album’s unique sound world was captured.
I wanted to create the music I most wanted to hear without any constraints.
– Kano Kaori
We considered how far we could make the human voice pleasant.
– Fukuoka Yutaka
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Real Head 3D Microphone played a significant role in collecting sound materials
● What led to your decision to start musical activities under the new name “cocu*”?
Kano: I felt that when working within the field of pop music, there were constraints on how music is created. I wanted to make music in an environment with no such restrictions, focusing more on the atmosphere than the song itself. I envisioned creating music like the kind you’d listen to on a balcony for a long time. It wasn’t about what I wanted to sing; it was about creating the music I most wanted to listen to. This wasn’t a complete change in direction; my work in the pop music field will still continue.
● How did you decide to bring Fukuoka as a co-producer?
Kano: I’ve been a fan of Yen Chang (YEN CHANG = Yutaka Fukuoka) for a long time, and I’ve been listening to his recent works consistently. I love his solo album U R WORDS, and AILAA, which uses materials from Morocco. We knew each other already, but we hadn’t been meeting frequently. However, since I was listening to his CDs almost daily, he felt like someone very close to me. I thought it would be great to collaborate with him on something. So, I invited him to work on cocu*’s first album together.
● Was the sound image of this album already decided before you started working with Fukuoka?
Kano: Yes, it was. I stayed in a small cottage on a little island for a while, and the melodies that naturally came to me during my stay gradually formed the basis of the album. The sound of the sea, the blue feeling of the ocean and sky, the breathing of leaves – these images gradually built up. So for this album, I wanted to include sounds of the sea, trees, and the bustling of towns, but capturing those sounds required the powerful capabilities of Yen Chang’s 3D microphone system. I was truly amazed by the vast collection of sound materials that Yen Chang had.
Fukuoka: I bought a 3D “Real Head” recording system, the same binaural microphone that engineer Kiyoshi Okabe used for material collection in Morocco. At that time, the microphone was attached to a dummy head, but this time we used the Real Head 3D system that attaches to one’s own head. Kano-chan also wore this to collect materials for us (laughs).
● What kind of sounds did you record, for example?
Kano: I focused on collecting sounds that were pleasant to the ear. Recording sounds like those of a forest posed a challenge, as they could easily turn into mere noise. Surprisingly, the sound of water, for instance, was actually made by fish smacking their lips, and when recorded, it sounded the most like water.
Fukuoka: Sometimes you have to record and listen to realize how things will turn out.
Kano: But when I listen to what Yen Chang recorded in Morocco, it’s truly delightful. With 3D recording, you feel like you’re actually there – walking down the street, meeting children, getting closer to the market – it’s all conveyed through the auditory experience. I never thought 3D recording would be this fascinating (laughs).
Fukuoka: In a unique instance, we used a bronze bell for the last track, “Co-cu* Cosmica.” It’s a replica of a bell that was excavated from an ancient site. I happened to have borrowed it for another project, so I thought, why not use it here? It has a distinct shape, different pitches between the top and bottom, and interesting sound resonance. We recorded it in 3D.
● Where did you record the vocals?
Kano: I recorded normal singing and live instrument recording at SEDIC Studio, but for sampling and editing, we recorded at Yen Chang’s private studio. We did a lot of 3D recording there as well, using two microphones while moving around to capture different angles.
Fukuoka: The change in sound due to different movement speeds is fascinating. It’s a mix of high-tech and low-tech (laughs).
● Who handled the recording and mixing in the external studio?
Fukuoka: It was Noriyuki Terayama from Think Sync Integral. He got really into 3D this time. There are substantial changes in the mix, and his contribution to effects and such is significant.
● Did you take the data from Fukuoka’s private studio on ADAT tapes?
Fukuoka: Yes. We took it to an external studio and layered it there. For the final mix, we transferred the data to PCM-3348 and did the mixing with SSL. I relocated my private studio to a different place from my home, but the equipment itself hasn’t changed much. I used OPCODE Vision for sequencing software, and AKAI S-3200 and S-3200XL for samplers. The mixer and MTR are YAMAHA 02R and ALESIS ADAT.
Music Born Naturally through the Collaboration of Two
● Was the actual song creation a collaborative effort?
Kano: Yes. Aside from what was written on sheet music, we hummed melodies in the studio, did acoustic performances, and Yen Chang would suggest rhythms, and vice versa. Regarding sound effects, Yen Chang would create tracks, and I would listen and say, “This sound needs the sound of the sea, right?” We didn’t start with a predetermined sound like the sound of the sea, but rather intuitively selected the necessary sound materials as we progressed. I thought this approach felt more natural.
Fukuoka: When I heard Kano-chan play an impromptu piano and sing, I realized that if we just worked on it without overthinking, we’d be fine. I handled the programming, but I also edited some of Kano-chan’s preliminary recordings and used them directly. A good melody would naturally emerge in response to the tracks I created. The exchange was very smooth. If we had more time, we could have created even more songs; that’s the kind of feeling we had.
● You inspire each other, don’t you?
Fukuoka: I had been focusing on ethnic music lately, but through collaboration with Kano-chan, I felt I could bring out classical elements. Additionally, the fact that both of us are vocalists played a huge role. We both thought about how interesting and pleasant we could make the human voice.
Kano: Listening to Yen Chang’s singing changed my perspective on vocals. His singing transcends human capabilities (laughs).
Fukuoka: Kano-chan’s singing felt like something possessed her this time, and it was amazing.
● Despite being fundamentally ambient music, the melodies are very memorable.
Kano: As a vocalist, even when working with ambient music, I still want to prioritize melody. If you rely too much on the sound, having no melody might make it more stylish. Normally, adding a strong melody is considered risky. However, neither Yen Chang nor I are afraid of that. We felt confident it would be fine. So when composing, I don’t start with traditional chords. Yen Chang is truly the king of “dischords” (laughs). His “dischords” are intriguing, and they become addicting over time.
Kano: I do have a basic understanding of chords, but I mostly think in terms of lines. It’s satisfying when various parts move on their own and align at the right moment. For this album, since it contains a lot of environmental sounds, thinking about the pitch and frequency of those sounds in relation to chords is out of the question. When Yen Chang improvises a song, great melodies and phrases come out one after the other. However, he forgets them almost instantly (laughs). So I wrote down those melodies for him so he wouldn’t forget. This kind of natural songwriting process, allowing the music to be born as it flows, is somewhat ideal.
● Are you already thinking about what cocu*’s Vol. 2 will be like?
Kano: Yes. I’d like to release it during the cold season. Musically, I’d like to combine live recordings from a specific location with electronic elements – a mix of the natural reverberation and mechanical echoes. I’m looking forward to collaborating with someone again, like I did with Yen Chang this time.
▲ The bronze bell used in this recording. This replica of a bell excavated from the Kamo Iwakura site in Shimane Prefecture in 1996 was created by art caster Takehiro Koizumi. Fukuoka used it for the music of a documentary related to this bell, and it was temporarily lent to us. Fukuoka also used this bell to perform an improvisational outdoor performance called “YEN CALLING.”
▲ The 3D “Real Head” recording system purchased from engineer Kiyoshi Okabe. It consists of two SANKEN omnidirectional microphones COS-11PT, a battery-powered microphone amplifier, and a portable SONY DAT recorder CD-D7. The microphones are attached to sunglasses and positioned near the ears. However, wearing them leads to quite an unusual appearance!
NOTES FROM YEN
It all began with an email. Although we hadn’t met in a long time, the timing was terrifyingly perfect!
At the time, Kano-chan had plans to start a new project. It turned out that she was deeply interested in various areas such as ambient healing, environmental sounds, human voices, and even delving into the impact of frequencies and rhythms on humans and life itself. She had been listening to my recent album and something clicked (which was very gratifying). Naturally, the conversation heated up, and we decided to jump right into making an album.
We shared our ideas and solidified them using computers and tape, making the process enjoyable and smooth. Kano-chan’s sound, voice, and personality all influenced me, and I was able to create music very honestly. I regretted finishing the production and wished I had made a little more (originally planned for 5 tracks, but ended up with 6).
Kano-chan is amazing not only as a singer but also for her narration, voice percussion, and other unusual elements. It’s as if something possessed her (laughs) – like a child-like Björk and I were wandering, but we also had various other voices participate. It’s like a kaleidoscope of voice minimalism.
Moreover, I’m not sure if we can call it an instrument, but we used a “bronze bell.” It’s a replica of a bell made 2000 years ago that was recently discovered in Izumo (created by Takehiro Koizumi). Although it’s said to be a replica of an ancient bell, some say it might have been a thought amplifier. The sound of this bronze bell, along with space communication sounds, concludes the album.
For this album, we consciously used binaural microphones and focused on 3D for sounds of the environment (fieldwork was so much fun). Other sounds were also approached with a strong 3D perspective, which might be interesting to listen to on headphones (or even in car stereos).
We express our gratitude to the many musicians, creators, and staff who participated.
Yutaka Fukuoka (YEN CHANG)