RFI: Yellow Magic Orchestra

Paraiso is really good. Tropical music with a bizarre electronic twist. Very odd and affecting, and quite catchy as well.
Cochin Moon is an early electronic classic. Really neat stuff.
His Nokto de la Galaskia Fervojo soundtrack is chilling, it's minimal (as is a lot of Hosono's stuff) but very cold and moving. Love it.

so glad this was revived. just found a mediafire folder with all the albums and needed some guidance.

really loving these stripped down live versions YMO have been playing this year

https://www.youtube.com/watch?v=5NTnIJ61z1w

Love the synth trumpet!

Whoah, YMO doing "Thank You For Talkin' to Me Africa"!

https://www.youtube.com/watch?v=NWPbDsPYxZM&feature=related

https://www.youtube.com/watch?v=vEZ3VxGWwjM

excellent video (if you can ignore the camera effects). kinda weird to see a shorthaired 70's Hosono funking out by himself. they really did keep it tight though.

https://www.youtube.com/watch?v=0adjDQyYSI4

amazing find

i think cindy crawford is in one of those!!

hah, she is! I caught her posing dramatically with a piano while randomly skipping around.

Somebody really needs to write me a good, thorough examination on YMO and the Japanese New Wave (400 pages at least). I like the process of rooting around and finding out little bits and pieces of information but I need some cultural CONTEXT dammit!

I'm thinking that Nick Kent (the guy who runs technopop.info) could probably do something like that. YMO are interesting enough to warrant their own book but Japan is such a small country that all that stuff really ran into each other at some point. Like there's 3 degrees of seperation between pretty much every one of those bands. Most of it is probably through Harry Hosono, who seemingly appeared on everything that came out of Japan from 1976 to 1990 or so.

Too true, Hosono is a walking infographic.

a book like that would leapfrogbs to the very top of my reading list, for real

it's weird how popular ymo seem to be when reading about them, but every time i've asked a native japanese if they've heard of them, they haven't. maybe it's a generational thing?

I've experienced this a couple of times with some Japanese aged under thirty or so, although they seem to know Sakamoto for some reason.

What's interesting is that if they are aware of YMO they're often interested that a westerner would be bothered listening to 'old' Japanese music, or even Japanese music period.

yeah it seems like japanese don't have the same retromania that americans do, but i have no idea really

Somebody really needs to write me a good, thorough examination on YMO and the Japanese New Wave (400 pages at least). I like the process of rooting around and finding out little bits and pieces of information but I need some cultural CONTEXT dammit!

― Late night with Amazing Bo (MaresNest), Monday, April 1, 2013 5:42 PM (2 hours ago) Bookmark Flag Post Permalink

I've not felt the urge to write about music much over the last few years, but I *really really* want to write a longform piece on Jun Togawa. Never going to happen without a rudimentary knowledge of Japanese, though.

If you want to blow the mind of a 40+ Japanese person, tell 'em you love Ippu-Do or Guernica.

I know a lot of big music nerds who have no idea who Kraftwerk are, for instance...some people just don't really care about anything older than they are

You know, I heard an phone interview on Resonance last week with Akiko Yano (interspersed with some of her music), it was a show called Clear Spot. Maybe you could speak directly to Jun herself? If she speaks Eigo of course.

emily - have you read this?
http://www.groundzeromongkok.com/2010/12/memory-and-gender-in-music-of-jun.html

oops, XP

Frogs, yeah, it's a good piece (and I love the toilet ad it links to), but I want more! I guess really I want something book-length, with a really good biographical content as well as analysis.

basically, a book version of this would be the most amazing thing:
http://park10.wakwak.com/~techno/jgenealogy.html

and yeah, togawa is really fascinating. would read all of these imaginary books.

Wow - I need to hear that Akiko Yano Resonance show.

CJV - I imagine it'll turn up in the Resonance 104 Soundcloud page if you check there in the next few days.

found it!
http://www.mixcloud.com/alberto-umbridge/akiko-yano-broadcast-on-resonancefm-25th-march2013/

Japan is such a small country

It is?

Not in terms of population, but in size - like in the US, in the 70's you had the Detroit scene, and the New York scene, and the Nashville scene, and the Chicago sound...in Japan it kinda feels like everybody knew each other and played on each others' records.

Of course theres no book about any of this so I'm just guessing here. Didn't Takahashi and Hosono produce or otherwise appear on all the YEN records stuff, which made up a large portion of Japan's new wave scene?

http://25.media.tumblr.com/tumblr_m8sc3sC5F91qz9lsso1_500.jpg
(sakamoto being cool)

http://chinmai.net/~ichiyanagi/img/060403/ymo.jpg

https://www.youtube.com/watch?v=5YjYEJ9WHt4

awesome!

(cuts off halfway through, but you get the idea)
https://www.youtube.com/watch?v=lkPeDQKRpEk

The syndrum break in that BBC version is proper!

https://www.youtube.com/watch?v=GncUycY9N34&list=PL2D3C508F366E5AD3&index=3

Confession, I have gone since about 1998 thinking that the record is called 'X∞Multiples' but it's *not* it is 'X∞Multiplies' what the fuck? I have a tour poster and everything, I feel so stupid.

For your ignorance you must relinquish your tour poster to me!

i thought it was "multiples" too until recently

I have owned two copies of this album for about a decade and also thought it was 'X∞Multiples' until 5 minutes ago so you are not alone

xp

Thankful, seriously!

It's like finding out that Dark Side Of The Moon is actually called Dark Slide Of The Moon or something.

Brimstead, I just had a look on Ebay because some guy was selling the same poster there for quite a while and they weren't expensive, but not at the minute unfortunately.

one joy of "multiplies" is that i can (mostly) understand the japanese sketches and they're fucking hilarious

It's their Neu2

holy shit, also thought this was "X∞Multiples"!!

That figures, one of the thoughts I had yesterday was, "If this album was JUST drums, I think it'd become a favorite on the strength of these drumfills alone."

OTM re: the Barbie comment, though it makes me wonder why Naughty Boys clicked so soon and this didn't.

I always think about that when I listen to the '78 debut -- how in god's name did it occur to Hosono that he should make this kind of all-digital music BUT keep a live drummer?

Which spawned the follow-up thought: is genius actually just the combination of a great idea and the wherewithal/dedication to follow through on it?

I've never knowingly heard a Kraftwerk song. What should I try first?

Kraftwerk released six classic albums between 1974 and 1986* and one of their many remarkable aspects is that each one is completely different in concept and mood to the record that preceded it. Autobahn invented synth-pop and has a very melodic major-key sound, but is also quite Krautrock-y in places. Radio Activity (1975) is much more somber and atmospheric in feel, which of course sometimes exactly what you want.

Trans-Europe Express (1977) kicks off with a lovely pop epic ("Europe Endless") but then works its way through a series of gothic masterpieces. The penultimate track, "Franz Schubert", is hauntingly beautiful and dreamlike; I think it's the most slept-on piece in their whole catalogue. This album marks the point where Kraftwerk acquired their first sequencer, but it's used throughout as a fifth band-member, meaning that there is still a discernible "live" feel in places. By contrast, every track on The Man-Machine (1978) is built up from ultra-precise sequenced rhythm patterns, and the band's drummer essentially became surplus to requirements. This is one of the reasons that The Man-Machine stands in elite company as one of the most influential pop albums ever recorded. That said, conceptual and technical brilliance doesn't count for much if you don't also bring some great tunes to the party, and Kraftwerk delivered on that too. "The Model" was released a single some years later and hit number one in the British charts!

Computer World (1981) doubles down on the interest in danceability that began to appear in its predecessor, and in places radically pares back the band's usual focus on melody and harmony in favour of funky proto-electro drum patterns. That said, it does include their pop songwriting apotheosis, "Computer Love", which is built around their most beautiful and melancholic set of melodies. Kraftwerk are often described as musical visionaries, but what's also fascinating here is that the lyric imagines an electronic match-making service, prefiguring the emergence of Tinder by about three decades. ("I need a rendezvous / Computer love, I call this number / For a data date")

* Electric Café was generally regarded as a disappointment on its release in 1986 and is still derided even by many aficionados. However, while I will admit that it's not wholly on a par with their previous few records, I do really like it. Although Kraftwerk's de facto leader Ralf Hütter subsequently became content for the band to become a heritage act, in the mid-80s he was still very intent on pushing forward musically. To this end, they retired their warm-sounding analogue synthesisers in favour of the most sophisticated (and expensive) digital workstation of the era, the Synclavier. And it had the desired effect, in that Electric Café did sound absolutely state of the art at the time of its release. Although there is a nice, wistful pop song ("The Telephone Call") half-way through, the overall vibe is prescient, angular minimalism. "Boing Boom Tschak" and "Musique Non-Stop" are playful, but also viciously funky. Turn up the volume and the Synclavier's hard-edged drum samples will pummel you into submission.

I always think about that when I listen to the '78 debut -- how in god's name did it occur to Hosono that he should make this kind of all-digital music BUT keep a live drummer?

he plays bass on it too. actually I'm pretty sure there's real bass and drums on all of YMO's albums in varying quantities. but on later albums it's way more of a mix.

how did it occur to him? probably just heard YT play :)

the mood of “rydeen” is particular is very LETS GOOOOOOO!!! what a tune.