"BGM" by the Yellow Magic Orchestra is the greatest electronic pop album ever.

awesome thanks!

Wow, excellent catch on 4'33! Surely it's a John Cage reference! B.ack G.round M.usic !

listening to this with a little 420 and holy hell does it sound weird. all those freaky vocal effects and strange lyrics about metaphysics. the massive amounts of reverb. all those sad, mangled melodies. the really uh...random sense of rhythm on a few tracks. even "Cue", a song I've heard performed a dozen times by a variety of artists, sounds particularly paranoid and disturbed here. I love this album but it's also sort of a nightmare isn't it?

Agreed. I recently started getting into YMO and find this a peculiarly compelling album in that I've played it more than any other this year despite not really falling in love with it. "Cue" sounds like the fading human element working to reconcile himself to life as grinding machine repetition, as if reminding himself that this was, after all, his aspiration.

BGM is really very unique. All the detuned sounds and strange arrangements -- I've rarely heard anything like it.

Yasuaki Shimizu was friends with Ryuichi Sakamoto, and apparently took a lot of notes. Lots of innovative, post-BGM production on stuff he did with Yumi Murata, Jimmy Murakawa or Kazumi Band.

I've also been listening to Shinobu Narita, who had two bands: 4-D and Urban Dance (1, 2). His stuff also blends catch pop melodies with these chromatic, detuned sounds and slightly dissonant accompaniment in places.

I know ILX prefers 80s YMO to late 70s, so I hope you guys like these recommendations.

Whoops, I linked to Urban Dance when I meant to link to Shinobu.

you know what stresses me out? trying to figure out which ymo thread to bump. especially for today's situation, when i want to talk about technodelic, which is not BGM (which is not the greatest electronic pop album ever, although it's fantastic).

i came home to find 3 records that i recently ordered from discogs, all initial pressings with the obi and original liner notes, in fantastic shape:

takahashi - what me, worry?
takahashi - neuromantic (a contender for greatest electronic pop album ever. my old copy was scratchy and skipped in multiple spots during 'drip dry eyes', which is just unacceptable)

and of course, ymo's Technodelic. i only have three things to share, all of which you may already know:

1) according to wikipedia.org, "[Technodelic] is considered the first released album to feature mostly samples and loops, influencing the heavy use of sampling and looping in popular music." i didn't know that! that led me to

2) an interesting red bull music academy overview of YMO gear from a few years back, which talks a little bit about how ymo began to move from synthesizers to computers, digital sequencers, and samplers. there are also some interesting (and unsourced) tidbits about the influence of kraftwerk and devo in their early years. an excerpt:

The centerpiece of early YMO sets was a giant modular synthesizer, the Moog III-C; affectionately known to people in the scene back then as the “dresser.” It was the personal possession of the “fourth member” of YMO, engineer and programmer while on tour, Hideki Matsutake. He began his career as an assistant to Isao Tomita, and became a programmer at the dawning of electronic music in Japan. Matsutake synthesized music for TV commercials as well as doing electronic cover albums of the Beatles and various oldies before linking with the band. The first time Matsutake was called on was for the second recording session of the debut single, “Firecracker” (later included in the album Yellow Magic Orchestra). The first recording session, which Matsutake was not a part of, was said to have been done without the use of a computer but instead with an Arp Solina in a fusion style.

YMO didn’t think to use a computer in the beginning because Haruomi Hosono, Yukihiro Takahashi, and Ryuichi Sakamoto were all highly skilled players. In 1977, when Hosono had begun to formulate the idea for a new disco instrumental group, he first approached Tatsuo Hayashi of Tin Pan Alley and Hiroshi Sato of Huckle Buck, players active in the fusion genre at the time. However, when these invitations were turned down, Hosono called on two players who were still relatively unknown, Yukihiro Takahashi and Ryuichi Sakamoto. In an era when the majority of drummers refused to play while keeping time to the clicks from a rhythm box, Takahashi’s boundless curiosity enabled him to session with enthusiasm. Sakamoto, meanwhile, was an arranger who had finished graduate school at Tokyo University of the Arts, and was in the process of recording a solo project, A Thousand Knives, which was being created on the then brand new Roland MC-8.

The Roland MC-8 was the world’s first ten key input digital sequencer. It was an invention of a bygone era which quantified note information (a quarter note = 48) and inputs were punched in via a calculator type keypad. The reason why Sakamoto had no qualms about computer recordings was that he studied and experimented with the works of Iannis Xenakis, among others, while at university. Sakamoto probably was the only session musician that Hosono knew who had a thorough knowledge of computers at the time that was able to apply that knowledge to popular music.

The spark which led to Hosono’s use of a computer during the second recording of “Firecracker” was his discovery of Kraftwerk. Hosono was drawn to the German group’s method of recreating a perfected groove, expressed through a machine, which eliminated the subtle variations in timing that occurs when an instrument is performed by a human being. Matsutake was incorporated as a programmer due to his involvement in Sakamoto’s solo project. The swingy funk element present throughout their first album Yellow Magic Orchestra was expressed by programming through subtle variations of the input (if a quarter note = “48” they used inputs such as “45” and “47” to produce swing).

One reason Hosono wanted to create an instrumental group was that it got around the language barrier. He saw Kraftwerk and Giorgio Moroder’s ability to use computer created music to overcome the handicaps that prevented most foreign acts from being able to make it in America. Luck was also on their side, as shortly after their debut they received a call from A&M Records about releasing their record in the United States. As YMO gained traction, they were struck anew by the music of Devo, a post-punk group from Ohio. YMO quickly emulated Devo’s mutant-like sounds and synth overlays, abandoning their original philosophy of hermetically sealed computer compositions. This change in direction became YMO’s second album, Solid State Survivor.

3) the original issue of Technodelic is GORGEOUS. it's not this, which is the one that i most often see:

https://i.imgur.com/jr8yYRN.jpg

instead, it turns out the original cover is:

https://i.imgur.com/Kol8q52.jpg

i hear you saying "yes, i know that. i know everything about technodelic. in fact i was the audio engineer on that album and also contributed important ideas to the art direction on th-"

but did you know there's also an amazing foldout booklet, roughly 8"x11", that's included inside? i found one place on the internet that had some scans:

https://i.imgur.com/g3jsttf.png

https://i.imgur.com/TP2Dyvk.png

https://i.imgur.com/6tCoKDI.png

https://i.imgur.com/HpgVtRU.png

i especially love that last image. that is my dream desk for work. notice that in this dream work situation, i use a large box with a giant dial on it instead of a computer.

4) i lied, here is a fourth thing. this is also something you all already know, but the original pressing of Neuromantic ALSO has a really cool foldout liner notes. this came out the same year as technodelic (1981):

https://i.imgur.com/nQfgFjx.jpg

https://i.imgur.com/qXW1jHm.jpg

https://i.imgur.com/TJ4q2mj.jpg

https://i.imgur.com/AhJri3z.jpg

i am having a very good ymo-tangential day, and i hope you are too

one more:

https://i.imgur.com/K6pHl5K.jpg

btw, i got all of these records for about $20 a pop at this discogs store: https://www.discogs.com/seller/teebeetee/profile

each one came in absolutely perfect condition, even though the condition of all three items was described as

Media Condition: Very Good Plus (VG+)
Sleeve Condition: Very Good Plus (VG+)
Media: EX (some hairlines. some foxing spots on labels.) / Sleeve (with insert & obi): EX (some foxing spots & some wear)

A+ seller, would buy again, and if i ever find this person's store in Tokyo I'm going to go bankrupt, and by that i mean i'd spend $200

This is a great thread, you chose wisely :)

amazing

Ah yeah my "Neuromantic" has the booklet as well! Still love BGM above all other YMO albums, personally.

actually did not know a lot of that

a Hayashi/Sato/Hosono YMO would've been something to hear. super thankful it didn't happen though

YMO records are pretty tough to find around here. I got BGM & the US version of Xoo Multiplies but other than that I've never seen one. Much less a YT solo album. I've heard the s/t album makes its way around sometimes but it must get snapped up quick.

currently listening to YT's recent live album "One Fine Night", which spans his entire career in 33 songs...very nice

Still can't quite believe that I saw them together at the London Hosono gig, even though I saw the HAS/YMO Meltdown thing in 2008, which was a bit limp to be honest.

that's so awesome KM

:)

this is going to be a very ymo year because my partner is now super into that whole scene and has started finding and recommending things for me to check out. i feel like we're now experiencing exponential growth :) it also helps that after years of repetition and reading this and other threads, i'm finally beginning to put the pieces together. like i was reading some more about hideki matsutake (the "4th member of YMO" who was basically their resident computer programmer nerd for their early albums), and then realized he recorded as Logic System, and it's just so much more satisfying to understand that connection on a slightly deeper level.

what a kickass album cover (1982)

https://i.imgur.com/IibvSLc.jpg

Yeah I love that cover. “Clash” off the first album is amazing if you slow it down (thank u DJ Harvey)

great posts, btw, Karl

This solo album of his: https://www.discogs.com/松武秀樹-今藤小苗長十郎-小松原まさし-江戸-Edo/master/902345

Is cool sort of 70s style electronic mixed with some trad Japanese sounds. Very fun listen if you’re into like the epic euro kind of electronic stuff that preceded YMO (TD, schulze, vangelis etc)

Acc to Discogs I think all the YMO albums were reissued last year on vinyl. Some of them have weird super pixelated covers. They’re official though, looks like. Haven’t seen em in stores myself (I see the early hosono albums everywhere which bemuses me)

yeah, I've seen those around in a few stores. so expensive! and since the old pressings are not exactly uncommon and sound nice enough to my ears, I think I'll pass.

even though I saw the HAS/YMO Meltdown thing in 2008, which was a bit limp to be honest.

well, now I don't feel so bad for missing it!

not much of a fan of the recordings from that era either. it's cool that they didn't want to repeat themselves but... I don't find those rearrangements very satisfying at all. like, this isn't bad or anything but I can't really think of any situation where I'd prefer to listen to this version of "rydeen" instead of the original -

https://www.youtube.com/watch?v=Po1rPMoGXm4

your experience as original bgm must be different from the average person, but yeah they are expensive! i prefer to hang back and eventually become a world traveler to that record store in tokyo buy $200 worth of it, possibly even $250

i don't know if you lot saw this already, but you might be interested in the studio mule album 'bgm' that came out last summer which had covers of ymo ('ballet'), mariah, taeko ohnuki etc. rediscovered it the other day while i was going through stuff i'd saved on spotify. it's very pleasant btw

https://thevinylfactory.com/news/obscure-japanese-gems-reworked-studio-mule-band-album-bgm/

https://open.spotify.com/album/4O0IKN2qIUKd5e6x1v23mW?si=Q5OQSsBHRZ-vTjGMynwWbQ

your experience as original bgm must be different from the average person, but yeah they are expensive!

heh. well, ymo-related stuff has gotten much pricier the last few years but... those were something like 50¥+ a pop when I saw em. and the covers are ugly! seems like weird rabid collector bait.

it's missing a ton (and much of it isn't available), but here's a first stab at a ymo + solo chronological playlist: https://open.spotify.com/playlist/3wiA1XXpeNR07R680rvJRg?si=j0zTWq5ISA-FN-hhl0Kmvw

Acc to Discogs I think all the YMO albums were reissued last year on vinyl. Some of them have weird super pixelated covers. They’re official though, looks like. Haven’t seen em in stores myself (I see the early hosono albums everywhere which bemuses me)

Ah thanks for the info

How I wish somebody would write a book on YMO.

― disastrous sixth series (MaresNest), Monday, June 21, 2010 9:39 AM (nine years ago)

did this ever happen? or at least on one of the members? did anyone ever do a 33 1/3? i would devour that shit

Not in Eigo, to my knowledge.

Here's where they seem to be at with the 33 1/3 Japanese Music series.

http://www.norikomanabe.com/33-1-3-japan

It's maddening to me, cause their whole story is so fucking deep, you could write acres of material about each member's solo work and pre-YMO work alone.

Just listened to BGM immediately followed by Technodelic and I gotta say, while the former is cool weird, the latter is them going to the next level entirely. I love the fusion of their style with Bill Nelson and Japan's post-punkness. So many cool sounds and ideas all jumbled together.

We should poll them, who would win, Hosono?

Totally agreed about how odd it is there's not a book on these guys yet. Don't know if the recent surge in interest piqued some interest in writing it over in Japan, but like MN said, there is sooo much to write about!

Hosono would probably win, yeah.

YMO poll: Sakamoto vs. Hosono vs. Takahashi

Ah, there we go :)

Still, my memory lapse has sent me off to listen to Bon Voyage Co whilst tidying the house

thread title is still accurate

the part on "Rap Phenomena" where Hosono loops himself going "WOOP WOOP WOOP WOOP" is so fucking funny

he sounds so despondent telling everybody to rap

How I wish somebody would write a book on YMO.

― disastrous sixth series (MaresNest), Monday, June 21, 2010 7:39 AM (ten years ago)

otm

Surely it must already exist, and needs to be translated?

If anything they taught us about the free market is correct, even one thing, this book has to be out there already. Otherwise, maybe the uncomfortable feeling we’ve all had over the years is actually the free hand, harassing

I had a mooch around the book dept in Disc Union in Shibuya a few years back, there looked to be some YMO related books there but the poor chap behind the counter's eigo was non-existent and he was petrified of the wacky westerner asking daft questions.

There's a chapter on Happy End/YMO/etc. in Michael K. Bourdagh's Sayonora Amerika, Sayonora Nippon: A Geopolitical Prehistory of J-Pop. I got it out of the library just to read that chapter, and now I have to say I can't remember much about it! It was engaging Japanese pop's ambivalent relationship to the West post-WWII, which seems pretty obviously key to what YMO was. But I think I wanted a bit more of your conventional rock biography stuff, about recording the albums, relationships in the band, the industry, etc.

I'd like to think that W David Marx would be a good candidate, his book 'Ametora' is fascinating and his music blog writings were always pretty great.

http://neojaponisme.com/category/music-3/

Japanese pop's ambivalent relationship to the West post-WWII, which seems pretty obviously key to what YMO was

Can you elaborate on this point?

Maybe calling it "key" or speaking of "the West" here is imprecise, but something of the sort was certainly part of the group's conceptual foundation. Calling themselves Yellow Magic Orchestra ironically incorporates Western racism into the name of the group. They do giddily ironic covers of "oriental" easy listening exotica on synthesizers. Their techno-futurism conjures Japan's newfound position as a producer of premier appliances and automobiles such that the country is admired but feared and loathed as a source of economic threat and potential decline in US hegemony. Some of this is gestured at pretty clearly in the English-language skits on X∞Multiplies. Mind you, I don't perceive this theme so much after that point — someone who knows the history/Japanese would be better equipped to address the question. I'd like to read that book too!

here's one cool thing I just discovered - you know that bit on "Ballet" where the French woman (same one from "La Femme Chinoise"??) has that speaking bit? well, apparently this is what she's saying:

Je suis fatiguée du même vieux chaos
J'en suis malade
Il devrait y avoir une sortie à ce cul-de-sac

which is the same as the bridge from "Cue"

I’m sick and tired of the same old chaos
there must be a way out of this cul-de-sac.

https://pitchfork.com/reviews/albums/yellow-magic-orchestra-bgm/

pretty nice write up, hope this encourages a few more people to check it out

Enjoyed that, interesting to see that the writer quotes from a Peter Barakan interview I did a few years back, kinda emblematic of the paucity of information on the group in English, frustrating given their stature, collectively and otherwise.