Fill out the form below to receive the latest news about upcoming LINE editions and projects.

MASAYA KATO

Glass Anthimeria

OUT ON DECEMBER 5, 2025

Japanese artist Masaya Kato returns to LINE with his work Glass Anthimeria created as the sound installation for the 2024 solo exhibition of glass artist Mayuko Ogawa. The three compositions incorporate sounds generated during the glassmaking process as well as the sounds from the works themselves and by digitally granulating (particling) the collected glass sounds. By constructing the piece to resonate with the classical technique Ogawa adopts, pâte de verre (a method by firing powdered glass in an electric furnace), it aims to connect the classical and the contemporary, imbuing the exhibition space with a sense of temporal thickness.

Kato’s previous album for LINE, Wavefront Aberrations (LINE_104) was released in 2019.

Bandcamp Apple Music TIDAL Reviews
Catalog:
LINE_170
Format:
digital
Edition:
open edition
Release:
December 2025
Tracklist:

Unit/01 (12:27)
Unit/02 (11:23)
Unit/03 (09:11)

mastering by Masaya Kato
photography by Masaya Kato
special thanks to Mayuko Ogawa

Masaya Kato is a Japanese composer and performer, whose work is strongly influenced by poetry and art, he participates in creating video, installation, photography, and dance works along with his solo performances. At present, he also tries to make sound sculptures.

He is also active as part of the unit, graph with Shizuka(vo,gt).

His work has been released on domestic and international record labels including LINE (US), mAtter (JP), 901Editions (ITA), Time Released Sound (US), Whitelabrecs (UK), Shimmering Moods Records (NLD), and unqua (JP).

INSTAGRAM

REVIEWS OF
Glass Anthimeria

  • From the opening moments, this album feels like aural feng shui. A purposeful placement of sounds that do not overwhelm, cast a shadow or change your thoughts mid stream. It feels like the Shiretoko Peninsula in light rain, watching someone prepare tea, while the world slows down around you. “Unit/01” begins and ends with a quiet, elegantly polite introduction to the process. An intimate feel of person and form, that makes each sound fall together with ease and skillful precision. Nothing jarring, nothing startling, just calm. The right place to be to make glass. “Unit/02” continues this path. A zen-like state similar to meditation. It brings you to the feel of the process, one which produces intricate designs and patterns. It allows for the precise placement of colors within the glass mold. In the end, the resulting pieces are polished and finished. Sounds sparkling within thick pads, that dance and bloom. It’s where the music is guided to the reveal. “Unit/03” feels like you’ve become one with the piece, one with the process, and begin to feel its final form. Singing glass expertly laid on warm moments bring you to their conclusion. The piece is created. It lives in your mind, feeling like you had a hand in the process.
    —igloomag.com

  • Japanese composer and sound designer Masaya Kato has transformed his former sound installation dedicated to an exhibition of glass into pure audio material, conjuring up the processes of its making, sandblasting and grinding, as well as various objects already shaped. With an album of three delicate minimalist-ambient themes, he managed to satisfy the aesthetic criteria of the American publisher LINE, in whose catalog he took an honorable place for the second time at the end of last year.

    Listen carefully to the unique creation of the Japanese artist and experience in this way—through subtle sound gradients – the transparent and airy nature of glass and its derivatives that surround us in everyday life, and in this case they served as inspiration for the creation of “haiku” music for long-term listening.
    —predrag.vlahovic.kv

  • …Kato edited these sounds and added subtle, fragmented electronic sounds to resonate deeply with Ogawa’s patient, intimate, and poetic classical technique, the pâte de verre (a method of firing powdered glass in an electric furnace). These quiet, spacious, and meditative pieces faithfully reflect Ogawa’s minimalist play with the powdered glass and aim to connect the classical and the contemporary, imbuing the exhibition space with a sense of temporal thickness.
    —percorsimusicali.eu

  • Have you ever wondered what it would be like to have a glass head and have someone poking around in there, cleaning things out with some scrapes, ringing hits, and doses of high frequency waves? You no longer have to just imagine it! You can listen to this new one from Masaya Kato on headphones.
    —Alex Tripp / Endaural.com