In addition to my work as a musician and composer, I founded TORITOMOKAI, LTD, through which I manage several artists, invite international musicians to Japan, and produce concerts. I also run the independent label NAKID, releasing works by both Japanese and international experimental artists. Furthermore, I often serve as a co-curator or advisor when overseas festivals are held in Japan, bridging artistic practices across cultures.
I have performed over 200 concerts, primarily in Europe, and have cultivated collaborations with a wide range of artists. Building on these experiences, I am committed to further expanding cultural exchange between Japan and Europe and to establishing sustainable networks that can endure into the future. Through this grant, I hope to deepen on-site collaborations and exchanges, leading to the creation of new joint programs.
Koshiro Hino TORITOMOKAI,LTD
- Contact person :
- Koshiro Hino
- Position :
- Musician
Last update : 19 Aug. 2025
Works
In 2021, the music film “Shiver” (directed by Toshiaki Toyoda) featured an original score composed by Koshiro Hino and performed by Kodo.
A sonic journey through rhythm and abstraction by the cult Japanese post-rock ensemble goat (jp). Originally composed as the score for Cindy Van Acker’s eponymous dance piece ‘Without References,’ this release expands the group’s radical approach to rhythm and structure into the realm of contemporary performance.
https://goatjp.bandcamp.com/album/without-references-cindy-van-acker
"While "Metal Zone" might be their debut, KAKUHAN are hardly newcomers. Koshiri Hino is a member of the incredible goat (jp), releasing a run of records under the YPY moniker, and heading up the NAKID label, while Yuki Nakagawa is a well known cellist and sound artist who has worked with Eli Keszler and Joe Talia among many others. Together, they make a sound that’s considerably more than the sum of its parts, as obsessively tweaked, cybernetic and jerky as Mark Fell, and frothing with the same gritted, algorithmic intensity as Autechre’s ever-evolving sets, stripped to the bone and carved with ritualistic symbolism.
The album’s most startling and unexpected moments come when KAKUHAN follow their futuristic inclinations, snatching grimey bursts and staccato South London shakes and matching them with dissonant excoriations that shuttle the mind into a completely different place. It's not a collision we expected, but one that's completely ruined us, welding obsessive rhythmic futurism onto bloodcurdling horror orchestration - the most appropriate soundtrack we can imagine for the contemporary era.
By the album's final track, Nakagawa erupts into Arthur Russell-style clouded psychedelia while wavering flutes guide bio-mechanical ritual musick formations. It’s the perfect closer for an album of taut, viscous, and relentless gelling of meter and tone, nodding to classical court or chamber music as much as contemporary experimental digressions.
A classic of our time." - Boomkat
https://kakuhan.bandcamp.com/