press
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interview on Blow Up Magazine (2007)
artist statement on NYArts (2006)
interview by rare frequency (2006)
interview by hypo for FAMOUS issue2 by tsunami addiction (2002)
long article by e. g. including photos of rare early works (2006) | English Translation by Gill Arno
an articles on BlowUp when sawako had no official releases yet(2002)
interview by J-Pop World(2008)
an articles on Baltimore City Paper about the performance at Los Solos(2008)
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visual works on SSQ6 (2006)
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review page about 4th album “bitter sweet”(12k)
review page about 3rd album “madoromi”(Anticipate)
review page about 2nd album “hum”(12k)
review page about 1st album “yours gray”(and/OAR)
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“a very human addition to the 12k catalogue and
a necessary diversion from man-made electronic academia”
(boomkat)
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“post-romantic sounds” (Boston Weekly Zin)
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“an emotionally rich event” (Louise Gray, The Wire)
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“Sawako’s works here ranges widely, from pastel-tone songs like innocent childhood memories,
to abstract pieces that sound like the rumbling of the earth. ….. a fresh , original sensitivity
that is totally free from the xed image of conventional Japanese sentiment. ”
(Yuko Zama, Improvised Music From Japan)
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“the highest peak of girly minimalism” (plop)
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“portmanteau portraits of environmental interaction as cybernetically progressive as
architectural cyber-solutions for thirsty 21st century cities”
(William S. Fields, e|i magazine)
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“Listening to sawako’s “nana” was one of the most beautiful sound experience I’ve had in a long time.It was like laying back in a large grassy eld with headphones and really soft pillow. In my imagination, one by one I was plugged my headphones into the sky, the ground, the birds,the clouds and the gentle machines of nature and man. Her music is like the earth speaking in its own language and only Sawako can understand the words! Beautiful use of silence noise and tone, an amazing cd ep!”
(Andrew Deutsch)
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“a delicious cocktail of avours that is friendly, charming and engaging right from the outset.
Magical tones and textures are conjured from the most everyday of scenarios
and the incidental recordings of found sounds adds a personal level to the recordings.”
(smallfish record, London)
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“one should be careful with gender specific attributions, because this music sounds absolutely undominant, fragil, soft, gentle, delicate and tender, but is at the same time full of organic bursts, ruptures and technically that detailed and eleborate processed, that it would be non-sense to assign this music to any normativly constructed femininity.”
TERZ(DE)
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