Catch-Wave's second sidelong piece, "Wave Code #E-1," is a three-part performance for solo vocalist. As Kosugi describes in the liner notes (translated into English for this edition), the concept of onomatopoeia played an essential role in the type of sounds he generates with his voice, manipulated through customized electronic circuits and at times recalling Gregorian chant, throat singing and .
In , he founded the influential, experimental ensemble The Taj Mahal Travellers, and in he would release his first solo album, Catch-Wave. “Mano-Dharma ‘74” features improvised violin drones and voice with various oscillators, echo delays and layered .
According to Cope, Kosugi's finest work is the solo album Catch-wave (CBS/Sony). Kosugi received grants from The JDR 3rd Fund in and He also received a DAAD fellowship grant to reside in West Berlin in
Catch-Wave is both a transition into the fourth phase of legendary Japanese experimenter Takehisa Kosugi's career and an all-time classic Japanese side-long psychedelic freakout. Two extended tracks find Kosugi constructing long drones using his violin, tapes, electronics, and droning voices.9/
Composer, multi-instrumentalist and mixed-media artist, Takehisa Kosugi has stood on the forefront of the Japanese avant-garde for over six decades. In the In , he founded the influential, experimental ensemble The Taj Mahal Travellers, and in he would release his first solo album, Catch-Wave.