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╚╗ ░└──┘ ░ ░░░░░░░░░░░░░░░░└──────────────┘ ░ ╔╝
╚╗ ░░░░░░ ░░░░░░░░░░░░░░░░░░░░ ╔╝
╚╗ ╔╝
╚════╦══════════════════════════════════════╦════════╝
░░░░░░░░░░░░░░ ║ PROVIDERS OF SOUND ║ ░░░░░░░░░░░░░░
░░░░░░▓▓▓░░░░░░ ╚══════╦═══════════════════════╦═══════╝ ░░░░░░▓▓▓░░░░░░
░░░░░▓░░░▓░░░░░░ ║ PROUDLY PRESENTS ║ ░░░░░░▓░░░▓░░░░░
░░░░▓░POS░▓░░░░░░ ╚═══════════════════════╝ ░░░░░░▓░POS░▓░░░░
░░░░░▓░░░▓░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░▓░░░▓░░░░░
░░░░░░▓▓▓░░░░░·:·-+( Hiromitsu Agatsuma - Beyond )+-·:·░░░░░░▓▓▓░░░░░░
░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
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▓▒▓▓▒▓▓▒▓▒▓▒▒▓ ▒▓▒▓▓▒▓ ▒▓▒▓▓▓▒▒▓▒▓▓▒ ▒▓▒▓░▓▓▒░▒░▓ ▓ ▓▒░▓▒▒░▒░▓░▓ ▒░▓▓░▒░▓▒░
░▓▓ ▓ ▒▒▓▒▓▒ ▒▓░▓ ▓▓▒▒▒▓▒▓▓▒▓ ▓▒▓░▒░▒░▒ ▓▒▒▓░░▓▒░▓░ ▒▓░▒░▓▒░
▒░ ▓▒░▓ ▒▓ ▒▓▒▒▓▓▒▓ ▒▓▒░▒░▓ ▒▒▓░░▒░▓▒░ ▒░▒▓░░
▒░▓░ ▓▓ ┌───────────┐ ▒▓░▓░ ▒░▒▓ ▒░▓░▒▓ ▒▓▒░░
▓▒░░▒ │.:. POS .:.└┐┌────────────────▒────────────░▒░ ▒▓▒
▒▓░░▒▓▒▓ ├────────────┤┘ .:(RELEASE INFO):. ░ ▒▓░░
▒░▓▒░░▒░▓ │ └───────────────────────────────┤ ▒░▒▓░
░▒▒░▓░▓▒▒░ │ARTIST:.....: Hiromitsu Agatsuma │ ▓░▒▓▒░
▒░▓░▓▓░▓░▒░ │ALBUM:......: Beyond │ ▒▓░░▒
░▒▓▒▓▒░▒▓▒ │GENRE:......: New Age │ ░▒░▓
▒░▓░▒▒░▓▒ │RIP DATE:...: 02/27/2005 │ ░▓▒░░░▒
▒▓░▒▒▓ │RETAIL:.....: 00/00/0000 │ ░▓▒░▒▓▒▓░
▒░▒▓▒░▓ │SOURCE:.....: CDDA │ ░▒░▒▓░▓▒░▒
░▒▓░▒▓░▒░ │ ┌───────────────────────────────┤ ▓░▓▓▓░▒░░▓▒
▒▓▓░▒░▓ ├────────────┤┐ .:(RELEASE INFO):. │ ▓▒░▒░░▒▒▓░
░▒▓▒░ │.:. POS .:.┌┘└────────────▓░▒▒────────────▓▒░ ▓░▓▒▒▒▓▒
▓▒░▓░░░▒▓▒░▒▓▒└───────────┘ ░▓▓░▒▓▒░▓░▒▓░░ ▒░▓ ▒░▓░▒▒░▓▓▒▓░░▒░▓▒░▒▓▒
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▓░▒░▒░░▒▒░▓▒░▓░▒▓▒░▓░▒▓░▒▓░▓░▒░▓▒░▓▒▓▒░▒▒▓░▓░▒▓░▓░▓░▓▒░▓░░▒▓░▓▓ ▓▓▒▓▓▒░░░▒▓▒▓
▓▓▒░▒▒░ ░▒░▒▓░▓░░▒▒░▓▓▓░▒▓░▒▓▓░▒▓░▓░▒▓▒░▓▒░▓░▒▓░▒▓░▒▓░▒░▓ ▓░▓▒░░▒▓░▒░
▒▓▓▓░▒░ ░▒▓▒▒▓░▒▓░▓▒▒▓░░▓░ ░ ▒▓░▒▓░▓░▒▓▒░▓░▒▒░░▓▓ ▒▓░▓▒▒░▓░▓
▒▓░▒░▓░░░ ░▓░▒▓░▒▒ ▒ ▒▓░▓░ ░ ░▓░ ▓ ▓░▓▒▒▓ ▓▓▒░▒▒░
▓▒░▓▒░▒ ░▓▒▒▓░▒ ░ ▓▒░ ░ ▒░ ▒░▒▓
▒░▓░▒▓░░ ▒░▓══════▒═══════════════════════════╗ ▒▓░▒░
░▒░▒▒▒░ ║ .:.(TRACK LISTING).:. ║ ▒▓▒░▓░░░▒
▓▒░░▓░ ╔════╩══════════════════════════════════╩════╗ ░▒▓░▒░▒▒▓
▓░▓▓▓▒▒░▓░▓ ║01 dawnlight (akatsuki no hikari) ║ ░▒▓▓▓▒░
▓░▓▓▓▒▒░▓░▓ ║02 a paper in the air (kami no mai) ║ ░▒▓▓▓▒░
▓░▓▓▓▒▒░▓░▓ ║03 an end of sorrow (kanashimi no hate) ║ ░▒▓▓▓▒░
▓░▓▓▓▒▒░▓░▓ ║04 heartbeat (kodo) ║ ░▒▓▓▓▒░
▓░▓▓▓▒▒░▓░▓ ║05 tears... ║ ░▒▓▓▓▒░
▓░▓▓▓▒▒░▓░▓ ║06 shami's groove ║ ░▒▓▓▓▒░
▓░▓▓▓▒▒░▓░▓ ║07 baetnorae/tsugaru yosare bushi ║ ░▒▓▓▓▒░
▓░▓▓▓▒▒░▓░▓ ║08 in the sky ║ ░▒▓▓▓▒░
▓░▓▓▓▒▒░▓░▓ ║09 panther ║ ░▒▓▓▓▒░
▓░▓▓▓▒▒░▓░▓ ║10 thought of you (kimi e no omoi) ║ ░▒▓▓▓▒░
▒▓▒░▓░▒▓░▒░░▒ ╚═══════════════════░══════▓░══════════▒═════╝ ▓▒░▓▓▒░▒▓
▓▒▒░▓░░▒░▓▒░▒░░ ▓▓▒░░ ░▓░ ▓▒░▓░▓░▒ ▓▒░ ▓▒░▓▒░▓░▒▓▒▓▒
▒░▓▓▒░▓░▒▓░▒▒░▓░▒▓▒▒░▓▒░▓░▒▓▒░▓░▓░▓▒░▓░▒▓░▒▓▒░▓▒░▒▓░▓▒░▓▓▓▓▒░▓░▒▓░▒▓░▒▓░▒▓░▒▓
▒░▓▒▓░ ░▓░▒▓▒░▓▓▓▒░░░▓▒░▓░▓ ▓▒░▓▒▓▒░ ▓▒░▓░▒▓░▒▒░▓▒
▒▓░▒▓░▓ ░▓▒░▓▒░▓░▒░
▒░▒▓▒░░▓ ░▒▒░▓░▓▓░
▒▓▒▒░▓ Hiromitsu Agatsuma ▓▒░░▒▓░░
▒▓▒▒░▓ ▓▒░░▒▓░░
▒▓▒▒░▓ Tsugaru-Shamisen Artist ▓▒░░▒▓░░
▒▓▒▒░▓ Born July 27, 1973 in Ibaraki Prefecture, Japan ▓▒░░▒▓░░
▒▓▒▒░▓ ▓▒░░▒▓░░
▒▓▒▒░▓ Agatsuma began studying the tsugaru shamisen at the age ▓▒░░▒▓░░
▒▓▒▒░▓ of six, and ▓▒░░▒▓░░
▒▓▒▒░▓ earned his first accolade?first prize at the 1988 ▓▒░░▒▓░░
▒▓▒▒░▓ All-Japan Tsugaru Shamisen ▓▒░░▒▓░░
▒▓▒▒░▓ Competition?at 14. This was followed in 1995 and 1996, ▓▒░░▒▓░░
▒▓▒▒░▓ by top honors at the ▓▒░░▒▓░░
▒▓▒▒░▓ Tsugaru Shamisen National Competition, said to be the ▓▒░░▒▓░░
▒▓▒▒░▓ country╞s most ▓▒░░▒▓░░
▒▓▒▒░▓ prestigious. ▓▒░░▒▓░░
▒▓▒▒░▓ Despite the high acclaim he received in the hogaku, or ▓▒░░▒▓░░
▒▓▒▒░▓ traditional Japanese ▓▒░░▒▓░░
▒▓▒▒░▓ music world, for his accomplishments, Agatsuma did not ▓▒░░▒▓░░
▒▓▒▒░▓ rest on his laurels. He ▓▒░░▒▓░░
▒▓▒▒░▓ not only continued to explore the traditional aspects ▓▒░░▒▓░░
▒▓▒▒░▓ of his instrument, but ▓▒░░▒▓░░
▒▓▒▒░▓ also avidly experimented in fusing its sounds with ▓▒░░▒▓░░
▒▓▒▒░▓ diverse musical genres. ▓▒░░▒▓░░
▒▓▒▒░▓ In September 2001, he made his major label debut on ▓▒░░▒▓░░
▒▓▒▒░▓ Toshiba EMI with the ▓▒░░▒▓░░
▒▓▒▒░▓ eponymous ⌠Agatsuma.÷ This album, comprising five ▓▒░░▒▓░░
▒▓▒▒░▓ traditional pieces and ▓▒░░▒▓░░
▒▓▒▒░▓ five original ones, was named ⌠Traditional Japanese ▓▒░░▒▓░░
▒▓▒▒░▓ Music Album of the Year÷ ▓▒░░▒▓░░
▒▓▒▒░▓ at the 16th Japan Gold Disc Awards. ▓▒░░▒▓░░
▒▓▒▒░▓ In ⌠BEAMS,÷ his second album (released in July 2002), ▓▒░░▒▓░░
▒▓▒▒░▓ he recorded ten ▓▒░░▒▓░░
▒▓▒▒░▓ original works, taking the tsugaru shamisen in new ▓▒░░▒▓░░
▒▓▒▒░▓ directions. The same ▓▒░░▒▓░░
▒▓▒▒░▓ album was subsequently released in America by Domo ▓▒░░▒▓░░
▒▓▒▒░▓ Records in January of ▓▒░░▒▓░░
▒▓▒▒░▓ 2003, upon which Agatsuma made his US debut. His ▓▒░░▒▓░░
▒▓▒▒░▓ five-concert tour of the ▓▒░░▒▓░░
▒▓▒▒░▓ east coast?New York, Boston, Windsor, and Baltimore?was ▓▒░░▒▓░░
▒▓▒▒░▓ a huge success. ▓▒░░▒▓░░
▒▓▒▒░▓ In March 2003, Agatsuma released a traditional shamisen ▓▒░░▒▓░░
▒▓▒▒░▓ album, ⌠Classics - ▓▒░░▒▓░░
▒▓▒▒░▓ AGATSUMA III,÷ which includes tracks recorded live in a ▓▒░░▒▓░░
▒▓▒▒░▓ New York church. ▓▒░░▒▓░░
▒▓▒▒░▓ Currently he is broadening his field with over 100 ▓▒░░▒▓░░
▒▓▒▒░▓ annual concerts, sessions ▓▒░░▒▓░░
▒▓▒▒░▓ and media appearances both in Japan and overseas, while ▓▒░░▒▓░░
▒▓▒▒░▓ continuing to ▓▒░░▒▓░░
▒▓▒▒░▓ pursue ⌠the traditions of and innovation in the tsugaru ▓▒░░▒▓░░
▒▓▒▒░▓ shamisen.÷ ▓▒░░▒▓░░
▒▓▒▒░▓ Media appearances include joint performances with ▓▒░░▒▓░░
▒▓▒▒░▓ artists from around the ▓▒░░▒▓░░
▒▓▒▒░▓ world; he was a guest at the Japan performances of ▓▒░░▒▓░░
▒▓▒▒░▓ Marcus Miller (B) and ▓▒░░▒▓░░
▒▓▒▒░▓ has performed with Larry Coryell (G), Nana Vasconcelos ▓▒░░▒▓░░
▒▓▒▒░▓ (Perc), Sarena Jones ▓▒░░▒▓░░
▒▓▒▒░▓ (Vo) and others. ▓▒░░▒▓░░
▒▓▒▒░▓ In conclusion, the talented Agatsuma is breaking new ▓▒░░▒▓░░
▒▓▒▒░▓ ground with his fresh ▓▒░░▒▓░░
▒▓▒▒░▓ approach to the shamisen, an approach that is helping ▓▒░░▒▓░░
▒▓▒▒░▓ to introduce the ▓▒░░▒▓░░
▒▓▒▒░▓ instrument to new listeners everywhere. ▓▒░░▒▓░░
▒▓▒▒░▓ ▓▒░░▒▓░░
▒▓▒▒░▓ f internet bios and press packets are to be believed, ▓▒░░▒▓░░
▒▓▒▒░▓ young Agatsuma (first ▓▒░░▒▓░░
▒▓▒▒░▓ name: Hiromitsu, but we'll allow him his Prince and ▓▒░░▒▓░░
▒▓▒▒░▓ Sting-like preference for ▓▒░░▒▓░░
▒▓▒▒░▓ brevity) is nothing less than a "superstar" in his ▓▒░░▒▓░░
▒▓▒▒░▓ native Japan. His debut ▓▒░░▒▓░░
▒▓▒▒░▓ album even won the "Album of the Year" award at his ▓▒░░▒▓░░
▒▓▒▒░▓ country's equivalent to ▓▒░░▒▓░░
▒▓▒▒░▓ the Grammys. Which just goes to show you yet again that ▓▒░░▒▓░░
▒▓▒▒░▓ Japan and the ▓▒░░▒▓░░
▒▓▒▒░▓ United States, though alike in many ways, are really ▓▒░░▒▓░░
▒▓▒▒░▓ damn different. That this ▓▒░░▒▓░░
▒▓▒▒░▓ cool, hip-looking kid playing instrumental music based ▓▒░░▒▓░░
▒▓▒▒░▓ around his mastery of ▓▒░░▒▓░░
▒▓▒▒░▓ the traditional tsugaru shamisen could gain rock star ▓▒░░▒▓░░
▒▓▒▒░▓ status in Japan reveals ▓▒░░▒▓░░
▒▓▒▒░▓ their higher tolerance for music that's not solely ▓▒░░▒▓░░
▒▓▒▒░▓ reliant upon pop hooks. ▓▒░░▒▓░░
▒▓▒▒░▓ Again, this is only if my highly biased sources aren't ▓▒░░▒▓░░
▒▓▒▒░▓ fibbing; he might be ▓▒░░▒▓░░
▒▓▒▒░▓ about as recognizable as Isaac Stern is to the average ▓▒░░▒▓░░
▒▓▒▒░▓ American Punk'd ▓▒░░▒▓░░
▒▓▒▒░▓ viewer. ▓▒░░▒▓░░
▒▓▒▒░▓ ▓▒░░▒▓░░
▒▓▒▒░▓ Agatsuma's mastery of his instrument is total; he's ▓▒░░▒▓░░
▒▓▒▒░▓ been a prodigy since ▓▒░░▒▓░░
▒▓▒▒░▓ age six. It's an awkward instrument in many ways -- ▓▒░░▒▓░░
▒▓▒▒░▓ there are only three ▓▒░░▒▓░░
▒▓▒▒░▓ strings, no frets and its neck seems endless -- but he ▓▒░░▒▓░░
▒▓▒▒░▓ wields it with complete ▓▒░░▒▓░░
▒▓▒▒░▓ comfort. The shamisen sounds like a cleaner, less buzzy ▓▒░░▒▓░░
▒▓▒▒░▓ banjo, but it also ▓▒░░▒▓░░
▒▓▒▒░▓ offers the smooth fluidity of the fretless bass. The ▓▒░░▒▓░░
▒▓▒▒░▓ long neck and scant ▓▒░░▒▓░░
▒▓▒▒░▓ number of strings force its player to flit up and down ▓▒░░▒▓░░
▒▓▒▒░▓ his instrument more ▓▒░░▒▓░░
▒▓▒▒░▓ than the average guitarist, allowing for complex runs ▓▒░░▒▓░░
▒▓▒▒░▓ wholly unique to the ▓▒░░▒▓░░
▒▓▒▒░▓ shamisen. No clinical virtuoso, Agatsuma is able to ▓▒░░▒▓░░
▒▓▒▒░▓ wring heavy feeling out of ▓▒░░▒▓░░
▒▓▒▒░▓ it, eschewing dull finger exercises for the kind of ▓▒░░▒▓░░
▒▓▒▒░▓ slow, rich subtlety heard on ▓▒░░▒▓░░
▒▓▒▒░▓ "A Paper in the Air", or the spunky melodic playing of ▓▒░░▒▓░░
▒▓▒▒░▓ "Dawnlight". ▓▒░░▒▓░░
▒▓▒▒░▓ ▓▒░░▒▓░░
▒▓▒▒░▓ But what about the music he's shamisening all over? ▓▒░░▒▓░░
▒▓▒▒░▓ Aha, there's his main ▓▒░░▒▓░░
▒▓▒▒░▓ crutch. Where Agatsuma's playing is usually edgy and ▓▒░░▒▓░░
▒▓▒▒░▓ vibrant, the other stuff ▓▒░░▒▓░░
▒▓▒▒░▓ is thick with an NPR-friendly air of new age ▓▒░░▒▓░░
▒▓▒▒░▓ tawdriness. Usually, Agatsuma ▓▒░░▒▓░░
▒▓▒▒░▓ overcomes, for example, the mystical flutes and ▓▒░░▒▓░░
▒▓▒▒░▓ cavernous ambience of ▓▒░░▒▓░░
▒▓▒▒░▓ "Dawnlight", and shines forth regardless. But on tracks ▓▒░░▒▓░░
▒▓▒▒░▓ like "Shami's Groove" ▓▒░░▒▓░░
▒▓▒▒░▓ and "In the Sky", the scented oil, faux-spiritual ▓▒░░▒▓░░
▒▓▒▒░▓ atmosphere consumes the ▓▒░░▒▓░░
▒▓▒▒░▓ whole thing. ▓▒░░▒▓░░
▒▓▒▒░▓ ▓▒░░▒▓░░
▒▓▒▒░▓ Beyond succeeds (with reservations) on the strength of ▓▒░░▒▓░░
▒▓▒▒░▓ the handful of ▓▒░░▒▓░░
▒▓▒▒░▓ songs on which the backing music actually serves ▓▒░░▒▓░░
▒▓▒▒░▓ Agatsuma's playing. ▓▒░░▒▓░░
▒▓▒▒░▓ "Heartbeat" is a fevered interplay between the shamisen ▓▒░░▒▓░░
▒▓▒▒░▓ and some ▓▒░░▒▓░░
▒▓▒▒░▓ rambunctious, hard-rattling drums. "Tears..."'s ▓▒░░▒▓░░
▒▓▒▒░▓ mesmeric refrain unfolds ▓▒░░▒▓░░
▒▓▒▒░▓ alongside an aching violin part that equals Agatsuma's, ▓▒░░▒▓░░
▒▓▒▒░▓ while the spare, Erik ▓▒░░▒▓░░
▒▓▒▒░▓ Satie-sent piano of "Thought of You" provides the ▓▒░░▒▓░░
▒▓▒▒░▓ perfect base for Beyond's ▓▒░░▒▓░░
▒▓▒▒░▓ most unabashedly sweet shamisen lines. I hope that ▓▒░░▒▓░░
▒▓▒▒░▓ Agatsuma learns the ▓▒░░▒▓░░
▒▓▒▒░▓ lessons of this album's hits and misses and soon ▓▒░░▒▓░░
▒▓▒▒░▓ surrounds himself with ▓▒░░▒▓░░
▒▓▒▒░▓ accompanying music worthy of his own. Surely he's up to ▓▒░░▒▓░░
▒▓▒▒░▓ the challenge. ▓▒░░▒▓░░
▒▓▒▒░▓ ▓▒░░▒▓░░
▒▓▒▒░▓ - ▓▒░░▒▓░░
▒▓▒▒░▓ ▓▒░░▒▓░░
▒▓▒▒░▓ Beyond - Agatsuma ▓▒░░▒▓░░
▒▓▒▒░▓ The shamisen craze that has been sweeping Japan's youth ▓▒░░▒▓░░
▒▓▒▒░▓ for several years ▓▒░░▒▓░░
▒▓▒▒░▓ is on its way to becoming a global phenomenon. Fusing ▓▒░░▒▓░░
▒▓▒▒░▓ the soul and softly ▓▒░░▒▓░░
▒▓▒▒░▓ plaintive twang of traditional Tsugaru-shamisen with an ▓▒░░▒▓░░
▒▓▒▒░▓ informed mastery of ▓▒░░▒▓░░
▒▓▒▒░▓ contemporary Western musical idioms, Agatsuma's US ▓▒░░▒▓░░
▒▓▒▒░▓ debut release in 2003, ▓▒░░▒▓░░
▒▓▒▒░▓ Beams, was a landmark in the East-meets-West appeal of ▓▒░░▒▓░░
▒▓▒▒░▓ the art form that ▓▒░░▒▓░░
▒▓▒▒░▓ the New York Post called "unusually exotic, yet ▓▒░░▒▓░░
▒▓▒▒░▓ familiar at the same time." ▓▒░░▒▓░░
▒▓▒▒░▓ ▓▒░░▒▓░░
▒▓▒▒░▓ Agatsuma's latest work, Beyond, is comprised of wholly ▓▒░░▒▓░░
▒▓▒▒░▓ original material, and ▓▒░░▒▓░░
▒▓▒▒░▓ injects shamisen with elements of rock, funk, jazz, ▓▒░░▒▓░░
▒▓▒▒░▓ techno, urban and Latin ▓▒░░▒▓░░
▒▓▒▒░▓ grooves. While modernizing the basics of the ancient ▓▒░░▒▓░░
▒▓▒▒░▓ genre for today's ▓▒░░▒▓░░
▒▓▒▒░▓ audiences, Agatsuma has said, "I am careful ...to not ▓▒░░▒▓░░
▒▓▒▒░▓ make the shamisen ▓▒░░▒▓░░
▒▓▒▒░▓ sound too much like the guitar but maintain its unique ▓▒░░▒▓░░
▒▓▒▒░▓ phrases and accents ▓▒░░▒▓░░
▒▓▒▒░▓ ...I try not to leave the basics behind." That ▓▒░░▒▓░░
▒▓▒▒░▓ commitment is immediately ▓▒░░▒▓░░
▒▓▒▒░▓ apparent with Beyond, which both honors tradition and ▓▒░░▒▓░░
▒▓▒▒░▓ pushes the artistic ▓▒░░▒▓░░
▒▓▒▒░▓ envelope of shamisen. ▓▒░░▒▓░░
▒▓░▒▓░▒░ ▒░▒▓░▒░▓░▓
▒▓░▓░░▓ ▒▓▒░▓░▓▒
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░▒▓▒ ▓▓░▓▒░▒▓░
▒░▒▓░▒ ▓ ░▓▒░▓
▓▒░▒▓ ▓ ▒░▓░
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▒░▓░▒▓▒░▓▒░▒▓ ░▒▓░▒▓▒░ASCii DONE BY Ghetto!187▒▓░▒▓░▒▓▓▓ ▒▒▓▓▒▓░▓▒░░▒▓
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