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Discussion 坂本 龍一 [Ryuichi Sakamoto]

Raccoon

Fox Brigade
Pronouns
He/Him
Many weeks ago now I said that a thread about one of my favorite musicians was forthcoming, but it is only now that I have sat down to write it. This prolonged waiting period came not from a place of arrogance about my writing, but rather the daunting task of imparting a life and its work into a forum thread. Organizationally, I expect this thread to suffer from the magnitude of what I hope to express. Rather than attempting in vain to tame this thread, I instead intend to succumb to its overwhelming potential and communicate as much as I can.

Ryuichi Sakamoto is one of the most influential musicians alive today. As a member of the groundbreaking trio YMO he provided several of the lush compositions that separated the group from its contemporaries, many ranging in musicality from austere to unlistenable. In addition to this, he created a wonderful discography of solo works and scoring credits.




Above is his first solo credited album, Thousand Knives. It is an eclectic work with a pioneering sound, and its opening title track is one of my favorite compositions across its YMO and piano versions. His 1980 album B-2 Unit has been recognized for its impact on techno and hip hop, while 1984's Illustrated Musical Encyclopedia remains my personal favorite.

His career is so broad as to be difficult to summarize, so I will overlook a great deal. He scored the critically acclaimed Merry Christmas Mr. Lawrence and starred in it alongside David Bowie. As for video games, he created the SEGA Dreamcast startup sound, and both composed for and was creatively involved in the creation of Love-de-lic's L.O.L: Lack Of Love. Additionally, the character known in the west as Phoenix Wright is named Ryuichi Naruhodo in his honor and its trial theme inspired by "Thousand Knives."

As an aside, I feel as though the rain theme from Pikmin 3 sounds a bit like the bridge section of the track embedded below. Let me know if you hear a similarity and agree.




Finally, I'd like to touch briefly on why I am writing this thread. Several months ago I learned that Sakamoto has stage 4 cancer. I knew then that if he were to pass away I would write some sort of tribute thread, but decided to instead celebrate his life. This fall an album of covers of his works by various artists will be released in commemoration of his 70th birthday. Below is a funk-oriented reimagining of "Thousand Knives" by Thundercat.




Thank you all for reading this disaster of a thread. I wish that I had done justice to this wonderful artist, but at this point I wanted to write something brief to share my respect for him with all of you. I hope that this thread fosters some discussion among my fellow Sakamoto devotees and introduces a lifetime of incredible creation to those unfamiliar.
 
Many weeks ago now I said that a thread about one of my favorite musicians was forthcoming, but it is only now that I have sat down to write it. This prolonged waiting period came not from a place of arrogance about my writing, but rather the daunting task of imparting a life and its work into a forum thread. Organizationally, I expect this thread to suffer from the magnitude of what I hope to express. Rather than attempting in vain to tame this thread, I instead intend to succumb to its overwhelming potential and communicate as much as I can.

Ryuichi Sakamoto is one of the most influential musicians alive today. As a member of the groundbreaking trio YMO he provided several of the lush compositions that separated the group from its contemporaries, many ranging in musicality from austere to unlistenable. In addition to this, he created a wonderful discography of solo works and scoring credits.




Above is his first solo credited album, Thousand Knives. It is an eclectic work with a pioneering sound, and its opening title track is one of my favorite compositions across its YMO and piano versions. His 1980 album B-2 Unit has been recognized for its impact on techno and hip hop, while 1984's Illustrated Musical Encyclopedia remains my personal favorite.

His career is so broad as to be difficult to summarize, so I will overlook a great deal. He scored the critically acclaimed Merry Christmas Mr. Lawrence and starred in it alongside David Bowie. As for video games, he created the SEGA Dreamcast startup sound, and both composed for and was creatively involved in the creation of Love-de-lic's L.O.L: Lack Of Love. Additionally, the character known in the west as Phoenix Wright is named Ryuichi Naruhodo in his honor and its trial theme inspired by "Thousand Knives."

As an aside, I feel as though the rain theme from Pikmin 3 sounds a bit like the bridge section of the track embedded below. Let me know if you hear a similarity and agree.




Finally, I'd like to touch briefly on why I am writing this thread. Several months ago I learned that Sakamoto has stage 4 cancer. I knew then that if he were to pass away I would write some sort of tribute thread, but decided to instead celebrate his life. This fall an album of covers of his works by various artists will be released in commemoration of his 70th birthday. Below is a funk-oriented reimagining of "Thousand Knives" by Thundercat.




Thank you all for reading this disaster of a thread. I wish that I had done justice to this wonderful artist, but at this point I wanted to write something brief to share my respect for him with all of you. I hope that this thread fosters some discussion among my fellow Sakamoto devotees and introduces a lifetime of incredible creation to those unfamiliar.

An awesome career that I was never aware of, even though it turns out I've heard a tiny bit of his work before (the extremely satisfying DC startup). Thanks for sharing, and giving me yet another artist to dig into!
 
That Pikmin comparison...it took a little bit, but as I listened to it more it does have similarities in their composition; I don't think you're off the mark on that connection.

A terrible thing to hear about his cancer, but certainly an illustrious career that until now I was unaware of and I'm excited to listen to more of his music (as well as YMO) now!
 
here's an interview that I think is nice

also "Merry Christmas Mr. Lawrence" is one of my favorite pieces on piano by him and deserves an embed



That Pikmin comparison...it took a little bit, but as I listened to it more it does have similarities in their composition; I don't think you're off the mark on that connection.
it's tenuous, but the short section starting at around 50 seconds in immediately evoked Pikmin 3 for me
 
Merry Christmas Mr Lawrence introduced me to him, but The Revenant's calm strength really endeared me to him.

Nothing short of tremendous composition!
 
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I keep referring back to the OP to check out the different songs and I notice something different each time so sorry for this being totally out of the blue but
the character known in the west as Phoenix Wright is named Ryuichi Naruhodo
I have just enough of a grasp of some Japanese phrases that this name always fires the good neurotransmitters
 
I approve of this thread. The best thread of Famiboards.

YMO's favourite track (and one of my top 10 tracks of all time) is the live rendition of The End of Asia featured on the album Public Pressure. Something about this track send me back to my childhood immediately:

 
Merry Christmas, Mr. Lawrence live w/trio ensemble is the GOAT.

That said, what a genious he is. An astonishing revolutionary, a wonderful musician who is extremely influential in Japan and beyond, able to touch any genre and make it instantly better. How wonderful he has always been, but how wonderful still is; his collaborations with alva noto are being simply gorgeous.

Yeah, we can agree I'm in love too.
 
Love him so much, Thousand Knives is incredible (with a great photoshoot, I've used it as my avatar elsewhere!). You're right that he's difficult to summarise adequately, because his work is so vast and wide-ranging, but I think that's part of the joy of getting to know it. I really like Sweet Revenge (so '90s!) and I spent a lot of time with async a few years ago - great album, but can make for very sombre listening. "How many more times will you watch the full moon rise? Perhaps twenty. And yet, it all seems limitless."

Side note, Yellow Magic Orchestra are also great and Naughty Boys is probably a top 10 album of all time for me, though BGM is up there too.
 
His collab with Christopher Willits (Ocean Fire) is one of my favourite "ambient" albums
 
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He's great.

Got to know him by seeing him credited on David Sylvian's album 'Secrets of the Beehive' which is my favourite album ever.

Love 'Anna' and 'Regret' off of Sweet Revenge and his soundtrack work is nothing short of amazing.
 
bumping with a very cool performance of one of my favorites




from the comments (take it with a grain of salt):
After the 3/11/2011 earthquake and tsunami that hit Japan, Ryuichi Sakamoto visited the affected areas and decided to set up a fund for the repair and replacement of musical instruments for all of the affected students, hence the name "School Music Revival". A variety of concerts were held with the proceeds going to the fund. Some have been solo piano concerts, others were like this in which Ryuichi Sakamoto performed with an orchestra made up of affected students.
 
Sakamoto reportedly passed away on March 28, 2023. May he rest in peace.

 
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well that fuckin sucks

dudes a legend and was instrumental in the development of a lot of electronic music styles.

pour one out


pour-one-out-for-the-homies.gif
 
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RIP to an absolute legend.

His acting turn in Merry Christmas Mr Lawrence is just as good as the score he composed for it.
 
bumping because I've been on a bit of a Sakamoto kick since seeing Monster a couple days ago, which is as far as I know the final film he composed for. also watched the docs Tokyo Melody (1985) and Coda (2017) which are imo essential viewing for anyone who enjoys his work even a little bit—really beautiful portraits of his creative process during two very different points in his career. Tokyo Melody opens with him quoting Debussy about how his work won't be fully understood for generations, and Coda goes in-depth on the inspiration for several of his late-career works with a focus on the recording process for async. it's hard not to feel grateful for the breadth and complexity of the recordings he's left behind!!

 
I'm so glad that the thread was bumped. It's really made my day.

I'm a bit surprised that I didn't acknowledge his 1987 album Neo Geo, which of course predates the launch of the gaming platform by about three years.
 
First it's Vulfpeck in the song thread, and now this? Raccoon your music taste is immaculate.

Been on a Sakamoto kick as well. The snow + all the studying from the semester starting has had me in a mellow mood lately, so UTAU has been getting a lot of playtime. For the uninitiated, it's a collab album between singer-songwriter Taeko Onuki and Ryuichi Sakamoto. All of the tracks are gorgeous, but 美貌の青空(Bibo no Aozora) and Flower in particular are ones I always go back to.
 
We are only a few weeks now from the first anniversary of Sakamoto's death, and I have finally listened to 12. It is, of course, a profoundly beautiful recording. The pieces are not played chronologically but instead rearranged like any other album to tell a complete story. The character of the music is at first spacious and haunting, dominated by wide soundscapes that led me into a trance. Piano gradually took hold of the record, and Sakamoto's playing is accompanied by the sounds of his breathing, given reverb like every other part of the performance. At first startling, and then distracting, these labored breaths became my own as they became part of my own consciousness. I deliberately do not say that they faded into the background; while slightly arrhythmic they are unmistakably part of these performances, willfully or not, and are in my mind undeniably part of the music.

Sakamoto's final recording speaks not to his own death as I expected it to do. Instead it is recognizably the bath of sound that he describes seeking in the liner notes. It is solemn, but not somber. I feel in this moment equally at peace and alone.
 
What's kinda wild is despite his long history, he really never touched animation all that much. One of the few movies he did was for the Korean-Japanese co-production, Sayonara, Tyrano (Me and Tyrano), and the way the movie was released in Japan is nothing short of just disaster after disaster. Ryuuichi finished his score in 2018, which the finalized Japanese recordings happened around the same time (as it was one of the final roles that Unshou Ishizuka recorded for an other than the Korean film festival screening in October 2018, it wouldn't be until 2021 till the Japanese version had been screened in Japan, due to multiple delays, notably COVID in 2020). His musical score in the movie is amazing and something that really stood out to me, especially the Japanese Korean trailers that showcased it. If I recall correctly, he also did the theme song for it as well:



Definitely one of those things I'd recommend checking out, for the story, Unshou's last role (he plays the elderly Triceratops), and Ryuuichi's score on the movie.
 


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