1. MIZU NO NAI UMI (original version) 38:36
2. MIZU NO NAI UMI (live version) 39:20
total time 77:58
Music recorded in 1990, forgotten about and rediscovered in a box in 2003. live version recorded in 2003 at Roulette, NYC with the addition of Tim Barnes on crotales and Karen Waltuch on Viola.
"In 2003 i discovered a box of tapes I had thought I had erased, and had long forgot about. The tapes were all from between 1986-1991, and as i listened back to them, I could clearly hear why i didn't like them at that time. But, youthful obsessions can sometimes be like tying your shoelaces together. For the first time, I was glad to find something old, because it captured something without the formal musical concerns i had at the time, almost like i was making this music for the future, when i could relax enough to just enjoy it. The box also contained what would become the "Two Organs" record (three poplars) and the music for the films "Door" and "Not Yet", but "MIZU NO NAI UMI" is maybe the most gentle and "gesture-less" of the bunch, and seems now to me to be a tribute of how important the music of Folke Rabe and Phill Niblock was / is to me. (At this time it was still almost impossible to hear the pure music of Tony Conrad, as "Outside the Dream Syndicate" was his only commercial recording). But today i can hear my young self in it, even though i can hear a little voice saying "no, no, no, no".

"Turntables & Computers is an uncut live recording of Otomo Yoshihide and Nobukazu Takemura performing an improvised live set at the Super Deluxe club in Roppongi, for the 'Space Invaded' event on March 29, 2003. This live album documents the first performance ever of these two world renowned musicians together, and the intense collision between the sounds of Otomo's turntables and Takemura's computers. The album has been mastered by Takemura himself." "A meeting between Otomo Yoshihide and Nobukazu Takemura might seem like an odd one to some and to others far overdue, because both artists are known for reaching to the extremes of their similar interests; both had early years of abusing turntables, both have used the computer as an assistant in creating very human music, whether it be tonal and melodic, or 'abstract', and both have adapted these investigations to ensembles of other musicians. In this way their paths can be seen as parallel, two lanes of traffic that, after taking detours, have finally converged into one lane, and compare maps. I like to think of the disc as the soundtrack to a car of the future: this one has two steering wheels, two sets of brakes and accelerators, and like Deep Purple said 'I want it! I need it!'." -- Jim O'Rourke.