Ryuichi Sakamoto S/D

STILL haven't heard a thousand knives though.

Summer Nerves !

Thousand Knives is my fav though

http://www.youtube.com/watch?v=3LI2mHRycJ4&feature=related

I don't have anything bad to say about Ryuichi Sakamoto apart from the fact that his catalogue is so deep that I'm always finding something that I don't already have. If anything is inessential, it's the multiple collections of already released stuff, and perhaps the one that collects the work he did for commercials. But I almost always still enjoy them.

Even though I know they're not necessarily his best, I still have a soft spot for Illustrated Musical Encyclopaedia, Neo Geo and Beauty - the lush pop he was doing back was something that helped to move me away from a diet of strictly commercial music.

Just picked up a newish double CD on Decca called Playing the Piano / Out of Noise...First CD is solo piano reinterpretations of some of his soundtrack and pop work, and it's really hitting the spot. The other one explores where noise and environment intersect, apparently with some of it recorded underwater and on top of glaciers in Greenland...and some of this is supposed to follow along from some of the work he's done with Alva Noto. Haven't listened through much of it yet but I'm hoping it'll also become a favourite like some of the work he's done with Carsten and Fennesz over the last few years.

There's a quote in the liner notes for this one about how typically as people get older their musical tastes tend to get narrower, but that he's finding his getting wider thanks to his exposure to this new generation of musician collaborators and compatriots...I like to think that I'm along for the ride of continual palette expansion too, but I have to admit that he's certainly helping me along in that regard.

i sold him a copy of bonjour tristesse

He's gone way too minimal and glitchy lately. The HASYMO single he was part of a few years is my last favorite thing by him. Those chords!

Search GEM Collection if you can find it. It's a wonderful collection of synthy odds n' ends from the early to mid 80's that spans a variety of styles - from J Pop to Fairlight + beatbox exercises.

a few years ago

he is very attractive

he might win the women think he's the hottest category, true

http://images.peaceandflood.fr/images/916836RyuichiSakamoto.jpg

I've been listening the fuck out of Esperanto since r1o posted his thread on it the other day. I probably like it even more than 1000 Knives.

To anyone who didn't like Illustrated Musical Encyclopedia - seek out the Japanese version, called Ongaku Zukan; only about half the tracks from the original release wound up on the American version. This one includes "Replica" which is absolutely stunning and one of my favorite pieces of his.

B-2 Unit and Esperanto are indeed great albums, but they took me forever to really get into, especially the latter. Kind of minimal but very cool and revolutionary. Also seek the "Warhead" 12" and the "Forbidden Colours" single with the Bamboo tracks. Otherwise if you're in the market for more cool experimental electronic stuff, you can always check out Hosono's discography.

Search GEM Collection if you can find it. It's a wonderful collection of synthy odds n' ends from the early to mid 80's that spans a variety of styles - from J Pop to Fairlight + beatbox exercises.

― François de Roobabe (Capitaine Jay Vee), Friday, February 5, 2010 5:22 AM (1 year ago)

I can't find this anywhere — halp

also the alternate mix of "Happy End" that's on the Arrangement EP is the shit — should've been on BGM imo

Never heard the Arrangement EP; this is more Left Handed Dream stuff isn't it? Loved that album

Currently have an RS tune stuck in my head, but can't remember what it is!! The only line is "good morning, good evening, where are you?"

half the tracks are versions of LHD songs with added lyrics sung by Robin Scott (the "Pop Musik" guy). I don't really like them, but the second half are tracks that weren't on the album (with the different mix of "Happy End")

"good morning, good evening, where are you?"

this?

https://www.youtube.com/watch?v=Q0ycccAwO7I

There's a nice update of that song on the Playing the Piano album - I'm pretty sure that's one of the tracks he played during his Toronto concert too.

I'll have to check it out then...that's one of his best albums, I always randomly get "Venezia" stuck in my head too

Recently got a few Akiko Yano albums; no thread about her here but so far her early albums (at least) seem to really be a treat...anyone heard of them??

I've heard "Ai Ga Nakucha Ne" (sp) — has all the YMO members contributing music iirc and a duet with David Sylvian. Her voice is nice, has kind of a young Kate Bush timbre

I like Japanese Girl and I have a great more recent album that I have no idea what it's called because it's nearly all in japanese.

Ah, her website is also in English, it's called 'Honto No Kimochi' and it's aces.

The album that is..

I've been listening to a lot of YMO over the last few years but hadn't really heard much of their solo works up until recently. I did own Illustrated Musical Encyclopedia for a while but just couldn't get into it. I gave B-2 Unit a listen and sadly that didn't click either. I did listen to a lot of Yukihiro Takahashi's albums and fell in love with the run he did from 80-83. I think I prefer his work as it's more similar to the more poppy moments of YMO, especially Naughty Boys which is one of my favourite albums of all time. I really loved Immigrants by the Sandii & The Sunsetz and Tutu by Miharu Koshi which were both produced by Haruomi Hosono. I tried one of his albums but it was a bit harder to get into. If anyone has any other suggestions of which albums I should try that would be greatly appreciated.

Have you heard Sadistic Mika Band?

Cochin Moon is probably Hosono's best, but I listen to Coincidental Music a lot xp

Kitchen - if you're looking for stuff that sounds like YMO, you're not really going to find it, except for those three Takahashi albums, which definitely sound like a YMO-side project, but in a good way. I'd be curious as to which Hosono album you got; he didn't do any solo stuff inside YMO besides Philharmony, which is a very neat album (though a little sparse) - he's definitely the kind of Eno-like artist who can do many many different styles and not look back. I guess I need to know what kind of stuff you're into before I can really say, but as I mentioned Sakamoto's Left Handed Dream is a tough one to go wrong with..

One thing you can do is to find the YEN record compilations; tons of great artists on those, and the YMO members were involved on nearly every release.

btw Paraiso is my favorite Hosono album - but if you like the non-standard/Monad period, please find the soundtrack he did for Nokto de la Galaskia Fervojo, it's seriously amazing in all the ways Hosono usually is. It's one of the coldest sounding albums I own.

Also, maybe check out Sakamoto's 1000 Knives record.

Love to hear those YEN comps.

listening to Ongaku Zukan on your rec btw, frogbs — thanks! I already loved this album so hearing the Japan-only tracks is like finding a secret level in a video game I've played 100 times

Yeah I had a feeling I would struggle to find stuff that sounded just like YMO. It was an amazing moment when I discovered all the Yukihiro albums, like I'd found another batch of lost YMO classics from that great period. I couldn't believe I'd never heard Drip Dry Eyes before. Tomorrow's Just Another Day is probably my favourite album of that run, the production is insane. They were all pretty easy to get on vinyl too unlike a lot of the albums from this scene.

Philharmony was the Hosono album I tried, it was nice enough but not really something I would listen to a lot. I am quite a big Eno fan but as you can probably guess it's the four vocal based albums from his 70's period that I love him for. If there's anymore of Hosono's albums that are slightly poppier or more song based I would give them a go.

I will give Left Handed Dream a listen, I love that artwork. Are those Yen compilations easy to track down?

Not heard anything by Sadistic Mika Band. I get the impression the stuff they all released in the 70's is quite different. I listened to the first Yukihiro album Savannah and I just didn't like it at all, it was almost easy listening Muzak.

It's kind of funny, Hosono had the same type of 'pop' phase but his was more exotica/tropical stuff. His albums with Happy End are really good. I understand if you didn't like Philharmony but can you at least admit that "Sports Man" and "LDK" are first-rate? ;)

A good reference is this:
http://technopop.info/

BTW I would be all for some kind of Japanese New Wave listening club similar to the Krautrock one. I mean that page above lists hundreds of albums and nearly half of them seem to have some link to YMO

corey - I was pretty surprised as well to find that the U.S. release cuts off half of the tracks, and also to realize that "Field Work" and "Steppin' Into Asia" didn't really fit with it at all. Sadly few outside of Japan seem to know about it. It sucks because "Replica" is my favorite RS track (at least, according to iTunes)

iTunes says my most-played RS track is "Dolphins"

BTW, just discovered that if you have access to the Japanese iTunes store, there are oodles of Playing the Piano Live concerts available from the past three years, including the ones he did on his swing through North America this past year. Just downloaded the Toronto show. They're only 1500 yen too, which makes them cheaper than most of the albums on the Japanese store!

I hate to be negative, but I really dislike the piano versions of his older songs — it makes me think of when someone orchestrates the music from the Final Fantasy games. Chintzy and artificial the originals sounds might be, they're a huge part of why I enjoy this music so much, and piano versions just turn them into elevator music imo.

Can see that, sure, but I actually like 'em a lot myself. Have really been enjoying a lot of other piano-based work like Olafur Arnalds and Max Richter etc, and so sometimes these versions really connect with me in a way that some of the 80s and 90s version don't. For example, the original "Amore" was a sophistopop high-gloss thing, but the piano version is quite moody. Not sure how much of this is just my love for the sound of the piano and how much of it is the rearrangement of the songs, though.

"Amore", yep, that's the track, thank you

Found this while perusing the information superhighway.

http://mutant-sounds.blogspot.com/2008/01/vatokyo-mobile-musiclp1982uk.html

been distantly aware of this dude for a really long time and finally picked something up last week and i'm pretty into it! that Left Handed Dream one frogbs mentioned. excellent investment! ($0.49 x 25% employee discount iirc)

Playing the Piano is lovely

Just had a listen to Beauty again; yep, "Amore" is definitely a beautiful tune, but this album is really wonky as a whole - "Rose Music" just irritates me.

If you want to hear the difference between Sakamoto and Hosono, listen to both versions of the Okinawan folk song "Asatoya Yunta" (on the albums Beauty and Paraiso). Sakamoto's is very crisp, precise, and beautiful, while Hosono's is surreal and exotic, to the point where it sounds like the vocals were recorded backwards. I love both versions but Hosono's is really something special.

OoooOOOooooh this has "War Head" on it!! Really wish he wrote more songs like that!!!

yeah — it's like the loopiest songs from Multiplies with awesome synth sounds

http://nonukes2012.jp/en/

That is a lineup worthy of international attention

Also think it's going to be the first time sakamoto and otomo yoshihide have collaborated

http://www.japantimes.co.jp/text/fm20120705a1.html#.T_u_dRB5lP4

I mean, was

And I guess I mean: I'm surprised to have only found out about a kraftwerk / ymo concert the week after it happens

http://www.japantimes.co.jp/text/nn20120717a1.html#.UASBKhB5mSM

Here's a nice compilation of various piano cameos on his Sound Street show on NHK from 1982-85

https://www.youtube.com/watch?v=_4tS8KJv5Ss

He breaks into the sequencer riff of DAF's El Que for a sec at one point, which is mad.

A lengthy tribute collection came out recently:

https://microambientmusic.bandcamp.com/album/all-micro-ambient-music-5-disc-set

And there's a forthcoming live event that will be streamed as well:

https://microambientmusic.peatix.com/

Details:

AUG 24
In Memoriam Ryuichi Sakamoto Micro Ambient Music 'Improvisation for serenity'
(Thu) 18:00 (8 days) | online | By RITTOR BASE

Event details
In memory of Ryuichi Sakamoto, who passed away in March, a compilation album entitled "Micro Ambient Music" was released on 13 July on bandcamp. Although the reputation of Ryuichi tends to be biased towards his work with YMO and in the field of film music, it is also true that the true value of his ideas and music can be found in his works from the 21st century onwards. This compilation album is a total of 41 musicians from Japan and abroad who were closely associated with Ryuichi in his later years. The sound of the album is a total of 3 hours 56 minutes of music.

The bandcamp distribution is limited to 31 October, but in order to bring the sound to as many listeners as possible, it has been decided that live performances will be held by the Tokyo-based musicians who participated in this work over two days from 24-25 August. Three groups each day, six artists in total, will perform with a theme of 'Improvisation for serenity'. Duos performing in unusual combinations. After the performance, there will be an after-talk by the participating musicians, so don't miss it.

The part of the proceeds will be donated to Trees for Sakamoto.

Participating artists
24 Aug (Thu)
Tetuzi Akiyama Tomoyoshi Date
Ko Ishikawa Chihei Hatakeyama
Sachiko M Kazuya Matsumoto
Otomo Yoshihide (after-talk only)

Friday 25 August
Tomotsugu Nakamura Sawako
Yui Onodera Ken Ikeda
Toshimaru Nakamura Yumiko Tanaka (photo: asanao Matsumoto)　

Takashi Kokubo (ambient sound provided during live transitions on both days)

＜Ryuichi Sakamoto Micro Ambient Music "Improvisation for serenity" in memory of Ryuichi Sakamoto.
Date: 24 (Thu) - 25 (Fri) August 2023, both days open 17:45 start 18:00
Venue: Ochanomizu RITTORE BASE
　Ochanomizu Christian Centre B1, 2-1 Kanda Surugadai, Chiyoda-ku, Tokyo 101-0062
　Venue map
　(2 min walk from Ochanomizu Station on JR Chuo/Sobu Line, 3 min walk from Ochanomizu Station on Tokyo Metro Marunouchi Line, 3 min walk from B1 exit of Shin-Ochanomizu Station on Chiyoda Line)
■Attendance ticket at the venue: General/4,400 yen, Students/3,300 yen (archived viewing of the two days is also available).
Capacity: 30 people on both days. Doors open 15 minutes before the start of the performance and people enter in order of ticket number.
Tickets to watch the archived broadcast: ¥3,300 for adults, ¥2,200 for students (archived viewing of the two days is available).
Archived viewing deadline: 31 August 2023, 23:00.

(Timetable)
Thursday, 24 August
18:00 - 18:35 Tetuzi Akiyama + Tomoyoshi Date
18:45 - 19:20 Ko Ishikawa + Chihei Hatakeyama
19:30 - 20:05 Sachiko M + Kazuya Matsumoto
20:05 - After Talk: Otomo Yoshihide + Date Hakkin "Ryuichi Sakamoto's Music after 2000".
Friday 25 August
18:00 - 18:35 Tomotsugu Nakamura + Sawako
18:45 - 19:20 Yui Onodera + Ken Ikeda
19:30 - 20:05 Yumiko Tanaka + Toshimaru Nakamura
20:05 - After Talk: Yumiko Tanaka + Hiji Hatakeyama + Hakkin Date "On Japanese and Western music, improvisation and notation".

(Quick check confirms the streaming price is about $23 so I'd say that was an excellent deal.)

https://fruitandgroovescollective.com/2023/08/29/ryuichi-sakamotos-final-performances-captured-for-concert-film/

Just saw the Sakamoto Coda doc. Some of it is a sad look at him struggling with throat cancer and just eating and drinking. Some fascinating sections showing him creating music. The doc only briefly nods back to the past so you don’t get to understand how this guy talking about Bach is also a guy who played on a cover of Archie Bell & the Drells and on YMO songs.

Left Handed Dream sort of fulfills my long-time wish for an album that would take the vibe of the more windswept and fabular John Wesley Harding tunes (As I Went Out One Morning, All Along the Watchtower, The Wicked Messenger, etc) and stretch them across a whole LP length.

One of the modi operandi for Left Handed Dream was to keep the lyrics extremely simple, at least as regards the language, if not the import/impact/meaning of the songs. Perhaps because Mr. "Music Plans" Sakamoto himself was not up to the task, he outsourced, and trusted the right people with the job. I love the lyrics to these songs. Here are English renditions of the five in Japanese.

...

Boku no Kakera (Fragments of Me) (words by Shigesato Itoi)

Let's lift them up:
these fragments of me.
Thank you for
these fragments of you.

...

Saru to Yuki to Gomi no Kodomo (Children of the Monkey, Snow, and Trash) (words by Shigesato Itoi)

The monkey's house is
where the monkey lives.
The monkey's father
and the monkey's mother,
the monkey's children.
"I love you."
The monkey's house is
encircled by the woods.

The snow's house
is where the snow falls.
The snow's father
and the snow's mother,
the snow's children.
"I love you."
The snow's house is
encircled by the sky.

The trash's house
is where the trash lives.
The trash's father
and the trash's mother,
the trash's children.
"I love you."
The trash's house is
encircled by the soil.

Float. Floating.
Tomorrow
floats too.
Tomorrow
is floating.

Green.
Blue.
Blue
is green.
The light is radiant, isn't it?

The flower's house is
where the flower lives.
The flower's father
and the flower's mother,
the flower's children.
"I love you."
The flower's house is
encircled by the sky.

Bloom.
Bloom.
Tomorrow
will bloom too.
Tomorrow
is blooming.

(Repeat first verse)

...

Kachakucha Nee (An Irritating Mess) (words by Akiko Yano, in the Tsugaru dialect spoken where she grew up)

What a mess we're in. What an irritating mess we're in.
Let's bear up under it already.

...

Living in the Dark (words by Tetsuro Kashibuchi, Moonriders' drummer)

(Verse 1)
A dreamstorm crumbling to dust
A sandstorm raging past
(x2)

(Verse 2)
The color of gold calling
Arriving in paradise at last
(x2)

(Chorus 1)
The birds are going too
Flocking together
Ringing
The song of the earth

(Verse 3)
Drawing a circle with the inner eye
Driving away illusions
(x2)

(Chorus 2)
Boundlessly
Far away
Alive for the sake of
Rapture

(Verse 4)
A dreamstorm crumbling to dust

(Chorus 3)
The birds are going too
Flocking together
Ringing
The song of the earth

(Verse 5)
A sandstorm raging past

(Chorus 4)
Boundlessly
Far away
Alive for the sake of
Rapture

(Verse 6)
The color of gold calling

(Chorus 5)
The birds are going too
Flocking together
Ringing
The song of the earth

(Verse 7)
Arriving in paradise at last

(Chorus 6)
Boundlessly
Far away
Alive for the sake of
Rapture

(Verse 8)
Drawing a circle with the inner eye

(Chorus 7)
The birds are going too

...

Venezia (words by Tetsuro Kashibuchi)

The beautiful boy
in a desolate castle,
wearing his armor,
basks in the sun.

Red rose, Venezia!
Country eternal, Venezia!
Castle of sand, Venezia!
Country eternal, Venezia!

In springtime they gambol,
the old noblemen,
out in the moorland parading their horses
and coughing up blood in the thickets of heath.

Red rose, Venezia!
Country eternal, Venezia!
Castle of sand, Venezia!
Country eternal, Venezia!

Akiko Yano otm on that one

Agreed. And she did the words for Tell It to Me too!

But the softly-spoken words to Boku no Kakera, set to that eerie music, hit pretty hard too.

Realized this am that the record he produced and arranged for Virginia Astley, Hope in a Darkened Heart, is really required listening for anyone interested in Ryuichi’s mid-80s classy orchestral Fairlight experimental pop phase, a la Ongaku Zukan and his contemporaneous work w David Sylvian.

It’s a legitimately weird record – with nursery rhyme-melodies sung in Astley’s little girl falsetto over Ryuichi’s booming gated drums, sequenced music boxes and gamelans. The duet with Sylvian himself that leads off the record is a pretty unique entry in his catalogue:

https://open.spotify.com/track/5nwDAFzUqt7hVVsKoWGcJN?si=xX7P9oCVScqGde8qpsO5eg

This was an amazing recommendation. I am not often blown away on first listen. Echoes of early Leonard Cohen (!) and Syd Barrett (!!!). As NTI says, this is absolutely the place to go for those who can't get enough of Forbidden Colours, Bamboo Houses, or Bamboo Music. (And where hence? Are there more Sakamoto-orbit albums/songs that explore these particular woods?)

interesting bit in the recent Mouse on Mars interview:

One of the many distinct ingredients within Idiology is the distortion that drives immediate standouts like the noise-punk single “Actionist Respoke.” Ryuichi Sakamoto’s reps actually reached out to the duo around this time to ask if they could produce a similar beat for the composer. Since it was more of a work-for-hire situation than a proper collaboration, they politely declined and were surprised to hear a similar technique surface on Sakamoto’s next pop record.

“They basically reconstructed the beat from ‘Actionist Respoke’,” explains St. Werner. “It made me laugh because it was so cleanly distorted. I thought, ‘Oh God, they put [the song] through some distortion device and obviously used pedals or plugins.’”

anyone know what track St. Werner is referring to here? the Actionist Respoke single came out in early 2001...Sakamoto was pretty much done making pop by that point, so I am guessing this is Chasm, which I suppose is as much as "pop record" as you'll get out of him in the 21st Century. so then the track must be "Coro"?

Nice to see an upgraded version of this, wonder if he was a fan of Cabaret Voltaire

https://www.youtube.com/watch?v=Quev-hsqR9w

I know he was a fan of Throbbing Gristle.

This is quite quite lovely

https://x.com/istevejansen/status/1759165971690815719?s=46&t=byMYjCp2JCdH5mkSaZqRBQ

The other day I decided to figure out where exactly Hosono's guest appearance on the Thousand Knives version of Thousand Knives happens -- he's credited with finger cymbals. Knowing Hosono's sense of humor I figured he'd show up for one clink and then back right out, but no, he's actually quite prominent from about 7:30 through the end!

Seeing Opus tomorrow. Anyone see it yet? Good NY Times review:

The twin themes of “Ryuichi Sakamoto: Opus” are art and mortality, and they’re twisted so tightly together that they become inextricable. Shot in black and white to match the keys of the piano, the film entirely consists of the influential Japanese musician’s final concert. One might say it was a performance for nobody — Sakamoto filmed alone in a studio, with only the crew there as audience. But it’s more correct to say it’s for us, a gift from a master.

NHK have a documentary coming out next week called 'Last Days' that looks interesting.

https://www.barks.jp/news/?id=1000245935

I did go to see Opus. I am putting my thoughts behind a spoiler.

I was enthusiastic, going in, hoping that the performance would reflect RS's more recent albums, prepared piano and/or collaboration. This was not to be the case. The first half of the concert film finds RS playing pieces of solo piano music that I didn't recognise, very slow, very banal. The pieces were not complex in any regard, and felt to me as if they could be improvised-- not just by RS, but really, by any pianist. Only the sheet music in front of him indicated that he was playing composed music. I found this part of the film frustrating. This frustration was compounded by a sense of guilt that I did not appreciate the epigrammatic quality of the performance. I sat and wished I hadn't come.

In the middle of the film, he plays a brutally slow chorale for prepared piano-- it is gorgeous. He followed it with some kind of extrapolation on themes from "Merry Christmas, Mr. Laurence", which was also transcendent. The pieces were getting more interesting. I noticed other people in the theatre were snoring, more than one, probably two or three. I started to feel, myself, very sleepy. I didn't want to fall asleep in the theatre, so I told the friend I was with that I would go to concessions, buy some popcorn, and listen to the music from the lobby. I did so, and listened to the last six-or-so pieces with popcorn. One of the last pieces was a very-beautiful rendition of "Forbidden Colours".

My friend and I agreed that the film felt like it would work better if presented as accompaniment to other activities. That we'd both enjoy having the film on at home as we cooked dinner or cleaned house or whatever. We were walking to the subway. I was talking about how much I admired RS as a film composer. A woman walking near us interrupted our conversation to jump in. She had attended the same screening, by herself. We chatted with her all the way to the subway and rode the subway with her, in conversation.

She was a Sakamoto superfan. She'd travelled from the West Coast to Toronto just to attend this screening. She referenced every song that RS had played, she clearly knew everything about it. She told me that Opus was the full version of a previous concert film, that a six-song cut of the film had made the rounds already. She seemed very enthusiastic about the film, and I didn't want to express my comparative lack-of-enthusiasm to her to colour her experience, so I kept my feelings to myself. I feel inclined to keep my feelings to myself, now, even, which is why I put the spoiler tag on these paragraphs.

I did tell her that I did want to see a Sakamoto documentary. One that covered YMO and so on. She recommended Coda, which I've added to my watch list.

tl;dr, I wouldn't recommend seeing this film in cinema to anybody who finds Sakamoto's music to, at times, be wallpaper-y. You may find yourself bored, as I was. I would recommend this film to anybody who desires to watch it at home, where it can serve as accompaniment.

Seeing it on a second date, so if the theater isn't full, that could work out right. Thanks for all the info! And definitely curious about Coda as well.

And not to digress, but seeing a screening of The Raid later today, so this could be an all-time contrasting double feature.

Sorry my formatting was bogus, was hoping to hide all that info. I actually think it might make for an excellent make-out-in-the-theatre soundtrack, may things work out in your and your date's favour!

It's showing at the film fest here, I didn't try to make my partner go for fear it would be boring, especially without any context.

Also missing the Ennio Morricone and Richard Davis docs. :(

Funny this thread resurfaces alongside the PiL Album thread, I had no idea RS played on that

It worked just right having fgti's first paragraph osbscured by spoiler alert but reading the rest before going, and then going back to that first graf.

I was amazed by how it was shot, with no shot seemingly repeated twice. Totally get what fgti wrote about the music itself (great to hear it from your perspective). Would love to see this format with other solo pianists.

And it was a great date movie as far as being able to pay attention to it moment by moment without fully concentrating on it (as I would with any plot-driven movie).

When I'm listening to Summer Nerves and think that Ryuichi Sakamoto studied composition at university... I realize that here is someone who truly used his powers for good.