Hiroshi Ebina has unique multi-disciplinary background, ranging from composing ambient music, performing gagaku, the traditional ritual music in Japan, as well as photographing minimalistic landscapes in cities and nature. After spending years in Tokyo and New York, Hiroshi Ebina resettled himself in his hometown outside Tokyo in 2018. While exploring scenic sounds using guitar, modular synthesizer and tape machines, Hiroshi studied hichiriki and biwa, traditional gagaku instruments, and dance under the guidance of musicians from the Imperial Household Agency.
Serendipity is quintessential part of Hiroshi’s unique soundscapes, as he incorporates sound and silence that emerge and disappear as though by chance. His compositional process is like spreading dots and lines on a white paper and give them some orders. Then those lines and dots start showing some shapes. For him, randomness is the most notable characteristic of his composition. It’s not really about being accurate about rhythm or pitch. It’s not just about drone and reverb either. He is more concerned with texture, the spaces between each note, and how it feels to his ears.
In June 2018, he released his latest album “Evanescent,” and “Bergen” from The Ambient Zone in November 2018. Hiroshi also worked with the London-based Erland Cooper, who released his collaborative album “Sule Skerry” in May 2019.