Kim Koschka, born in Japan, first became known as a synclavier programmer and arranger/orchestrator in the late 80s in Japan.
In 1986 Kim set up the DMS studio in Tokyo and collaborated with numerous artists there.
Koschka appeared on HARUOMI HOSONO (YELLOW MAGIC ORCHESTRA) album 'OMNISIGHTSEEING' (SONY / JAPAN EPIC-SONY28-8p-5258).
Koschka's 1991 solo release 'METAMUSIK' (KING / JAPAN KICC 4040) demonstrated creative powers with the synclavier in radical interpretations of works by Messiaen, Debussy, Bach and others. "It's a very controversial album." Liner-noted HARRY HOSONO.
In 1995 Kim played in an alternative band IGLOO RANGOON, continued until 1998.
Kim's current plan is to pursue a solo artist career in the US.
The best way to describe Kim Koschka's music
is that it is the sum total of Kim's vast musical experience, spanning from
20th century compositional techniques to ethno musicology, combined with
the new directions in electronic pop music.
The result is a riveting mixture of avant-garde
harmony, ambient spectral orchestral colors, world-ethno melodies, and modern
electronic beats such as drum & bass, dub, and trip hop.
Kim is one of a very few who is trying to
reconcile academism and pop temperament.
Kim's first solo release in the US is
'BELLA MANIERA'.
This is the first of her NEO-MANIERISM series.
BELLA MANIERA II is to be released in the near future. But
before that, expect KIM KOSCHKA SONG ALBUM (temporary title)
to come very soon!
NOTE:
about the meaning and the significance of the word BELLA MANIERA,
please go to liner notes
by Kim Koschka.
Kim Koschka actually started
out as a physicist specialized in theoretical physics, but has also engaged
in serious study of musical composition.
Kim's main compositional research
lies in the area of the psycho-acoustically based mathematical control of
the border region where harmony and tone color become indistinguishable in
orchestral space.
Kim is currently working on
the thesis 'Treatise on geometric music'.
Nonetheless, as a composer,
Kim's firm belief that music must provoke direct psychotropic effects in audience
without the need for analysis makes Kim shy away from 'academic' avant-garde
music scene and prefers to work in 'non academic' music scene.