There are things that cannot be seen until they are heard. There are sounds that do not belong to any time, yet find their way into moments we thought were ordinary. I exists somewhere in between.

Born from fragments of memory and quiet rebellion, I have never been a conventional singer or songwriter, It has been a shifting constellation of art, writing, music and my identities remain unknown by choice. What began as an experiment in sound and perception became something larger: a refusal to be defined, a conversation between the seen and the unseen.
My origins of being both shadow and Light.

I first appeared in small, unrecorded performances, often without announcement. In the back rooms of galleries in Sapporo, in empty warehouses along the Australian coast, in dimly lit lofts in Los Angeles, and across digital spaces where distance is irrelevant. Each performance different. Sometimes there were instruments, sometimes silence, sometimes the hum of an unseen audience.

What connected these moments was not the sound itself, but the intent to create a space where music, image, and emotion could coexist freely, without bias toward the creators. I never perform under my real name. Instead, appear through characters, puppets, projections, or altered voices, allowing my work to stand on its own.

While some performances take place live, most exist virtually. I embraces the digital realm not as a substitute for reality, but as another form of presence. My “virtual tours” of Europe blurred the line between concert and installation. No two audiences ever experienced the same thing. Some saw moving shapes and color reacting to sound, others listened to the same performance as a quiet transmission through fog.

The art is not in the sound alone, but in the act of listening. I invite the audience to fill in the unseen, to complete the sentences left hanging in silence.

Projects in Motion. I am currently working on two interwoven projects: Nine Lives Lost and No Screenager. Both explore the collapse and reconstruction of identity through music and visual form. Nine Lives Lost is a meditation on renewal and memory. It weaves fragments of past selves voices distorted, melodies half-remembered into a soundscape that feels both mournful and transcendent.

No Screenager is a response to modern disconnection, an exploration of what it means to feel human in an era of pixels and filters. It questions the very act of seeing and being seen. The project will merge analog performance with digital decay, producing both an audio and visual experience that is simultaneously raw and unreal.

Together, these projects continue my ongoing dialogue between the virtual and the tangible, between what is forgotten and what insists on being remembered.

YouTube: @No Screenager
YouTube: @Nine Lives Lost

And a third project

YouTube: @The.fishtone

And want to deeply thank my friend, colleague, collaborator, writer and mentor Barry Ashworth for all his help and guidance over the years. 

@barry_ashorth
@eatcarpet
@bazmarc

www.bazmarc.com

Also the team at THE.project

記憶の断片と静かな反抗から生まれ、私は伝統的な歌手や作詞家ではなかった。アート・文章・音楽の星座のように、私の正体は選んで謎めかせている。  音と認識の実験は定義への拒絶となり、見えるものと見えないものの対話となった。影と光の起源。初めは記録されない小さな公演から。札幌の裏ギャリー、オーストラリアの倉庫、ロサンゼルスのロフト,デジタル空間。楽器があったり沈黙があったり、見えない観客のざわめきも。繋ぐのは音ではなく、音・映像・感情が偏らず共存する空間づくりの意志。 本名は使わず、キャラクターや映像、変声を通して作品を自立させる。多くはライブではなくデジタルに存在し, 仮想を現実の代替とはせず新たな存在とする。 ヨーロッパのバーチャルツアーではコンサートとインスタレーションが混ざり、  
観客はそれぞれ異なる体験をした。芸術は音にあらず、聴く行為にある。未完の文を沈黙の中に置き、見えないものを補うよう観客に促す。動くプロジェクト。現在「Nine Lives Lost」「No Screenager」の二つの連動プロジェクトに取り組み、  
アイデンティティの崩壊と再生を音と映像で探求している。
「Nine Lives Lost」は再生・記憶への瞑想。  
歪んだ声と薄れた旋律、過去の欠片が悲しみと超越の音景を紡ぐ。
「No Screenager」は現代の断絶への応答。  
ピクセル時代に人間であることを問い、見ることと見られることを問う。  
アナログ演奏とデジタル崩壊を融合し、生々しさと非現実を体現する。これらは仮想と現実、忘却と記憶の対話を続ける。
YouTube: @No Screenager  
YouTube: @Nine Lives Lost
第三のプロジェクトも進行中。
YouTube: @The.fishtone
長年支えてくれた友人、共同制作者、作家、メンターのBarry Ashworthへ感謝。

@barry_ashorth  
@eatcarpet  
@bazmarc

www.bazmarc.com

そしてTHE.projectチームにも。

Atsuhiko Nakatsubo / fish tone

Producer/Composer/Synthesizer  Manipulator

1982  Began making music after being inspired by German electronic music.
1986  Began producing and engineering own music as well as other peoples.
1993 Feeling the need to branch out in new directions, established own label ? TTB Studio.

Since then Atsuhiko Nakatsubo has produced music for a wide range of genres including.
fashion shows, sports tournaments, theatre music, computer game music and TV animations.
He is well versed in retro culture, especially sixties sci fi movies,the soundtracks of which are one of his strongest influences.
His music is also inspired by early synthesizer masters such as Wendy Carlos Conny Plank and Isao Tomita.
The visionary genius of pioneer synthesizer creator Robert Moog has also been a big influence.
Most of Atsuhiko Nakatsubo’s sounds are created with his large collection of vintage analogue synthesizers from the 70’s and 80’s eras.
Since the 1980s he has produced many songs which are a cross between folk and electronic music.
He specializes in producing mostly without the use of computers.
1999  set up alias fish tone as a separate entity, alongside Atsuhiko Nakatsubo.
Has produced a number of remixed songs within the PC world under both aliases.
2017 did one hour live improvisation concert at the opening of an art gallery using several different analogue synthesizers.
Outside of music Atsuhiko Nakatsubo is an avid fan of anything sixties and has a large collection of curios from that era including hundreds of robots and unique toys.

Has released three albums under internationally renowned labels Columbia and Crown records.
Is currently in the middle of producing an international compilation album

no screenager is following