Kaori Suzuki is a California-based artist, performer, and composer. Born in Japan in the early 80s and relocated to the United States as a child, she moved to Olympia, WA in 2004, and has been a west coast resident since.
Suzuki’s spiraling sound visions are geared for heightened states of listening-and-being, often working with loud, high-droning electric and acoustic instruments, synthesis, tape, oscillators, and other elements necessary to spin her auditory transmissions. Her long time interests in third-ear tone psychedelia and acoustic phenomena inform her live performances, recordings, and installation works. Her recent projects explore the rudimentary use of auditory distortion products, combining very-high-frequencies, long durations, and alternate tunings.
Suzuki’s recordings of solo and collaborative configurations are published on independent labels in Europe and the U.S., including Beacon Sound, Second Editions, and (soon) ANTS.
When she is not working on her solo works, her other projects include drumming in the Oakland-based minimalist psych-punk group, Night Collectors; her ongoing, collaborative light & sound happenings with partner, John Krausbauer; and playing amplified cello and guitar in the ever-intense amplified string ensemble, Ecstatic Music Band.
Suzuki’s background in electronic music and instrument making is diverse, including her autodidactic productions of electronic instruments for her (now defunct) project/company, Magic Echo Music from 2008-2013. Her custom and small run instruments have been utilized by musicians around the globe and most venerably by Hiroshi Hasegawa (C.C.C.C., Astro). Suzuki has taught at the Center for Contemporary Music at Mills College and is a lecturer at Santa Clara University on the cultural and material history of sound reproduction and its effects on global musical practice, and twentieth century electronic music history.
As a performer, Suzuki has presented her sound works at numerous venues across North America, Japan, and Europe, including the San Francisco Electronic Music Festival (US), Berkeley Art Museum (US), OTOOTO (JP), Worm (NL), CCRMA (US), Quiet City Series (CN), Debacle Festival (US), The Lab (US), Gallery Nomart (JP), Gallery 316 (MX), Vox Populi (US), Zorba (FR), Elastic Arts (US), FUSE Arts (UK), Human Resources (US), Time Based Art Festival (US), Rhizome (US), Ochiai Soup (JP), Coaxial (US), Arkaoda (DE), Holy Underground (US), and many others.
Suzuki’s spiraling sound visions are geared for heightened states of listening-and-being, often working with loud, high-droning electric and acoustic instruments, synthesis, tape, oscillators, and other elements necessary to spin her auditory transmissions. Her long time interests in third-ear tone psychedelia and acoustic phenomena inform her live performances, recordings, and installation works. Her recent projects explore the rudimentary use of auditory distortion products, combining very-high-frequencies, long durations, and alternate tunings.
Suzuki’s recordings of solo and collaborative configurations are published on independent labels in Europe and the U.S., including Beacon Sound, Second Editions, and (soon) ANTS.
When she is not working on her solo works, her other projects include drumming in the Oakland-based minimalist psych-punk group, Night Collectors; her ongoing, collaborative light & sound happenings with partner, John Krausbauer; and playing amplified cello and guitar in the ever-intense amplified string ensemble, Ecstatic Music Band.
Suzuki’s background in electronic music and instrument making is diverse, including her autodidactic productions of electronic instruments for her (now defunct) project/company, Magic Echo Music from 2008-2013. Her custom and small run instruments have been utilized by musicians around the globe and most venerably by Hiroshi Hasegawa (C.C.C.C., Astro). Suzuki has taught at the Center for Contemporary Music at Mills College and is a lecturer at Santa Clara University on the cultural and material history of sound reproduction and its effects on global musical practice, and twentieth century electronic music history.
As a performer, Suzuki has presented her sound works at numerous venues across North America, Japan, and Europe, including the San Francisco Electronic Music Festival (US), Berkeley Art Museum (US), OTOOTO (JP), Worm (NL), CCRMA (US), Quiet City Series (CN), Debacle Festival (US), The Lab (US), Gallery Nomart (JP), Gallery 316 (MX), Vox Populi (US), Zorba (FR), Elastic Arts (US), FUSE Arts (UK), Human Resources (US), Time Based Art Festival (US), Rhizome (US), Ochiai Soup (JP), Coaxial (US), Arkaoda (DE), Holy Underground (US), and many others.