They took this off apple music good lookin

Ryuichi Sakamoto amore

Organic soundscapes, field recordings and melodic ambience from composer Sophia Zhuravkova. 
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/sophia-zhuravkova/episodes/sophia-zhuravkova-11th-august-2024

SOPHIA ZHURAVKOVA 110824

a lil mix I made of some of my favourite japanese city pop and disco records from the 80s, heavy on the cheese but a sweet lil' ride. I made it for a radio show but it was rejected. fortunately I was too attached to it to not post it anywhere so here it is :~)

1. Toshiki Kadomatsu - Off Shore
2. Mari Iijima - ひみつの扉 (Himitsu No Tobira)
3. Tatsuro Yamashita - Love Talkin’
4. Hitomi Tohyama - Inspiration
5. Masayoshi Takanaka - Chill Me Out
6. Masayoshi Takanaka - Sexy Dance
7. Soichi Terada & Shinichiro Yokota - Got To Be Real
8. Junko Ohashi - Love Affair
9. Toshiki Kadomatsu - Sky High

ダンス

Image created by me.
https://www.deviantart.com/leehon/art/Stay-Sober-1011398349

Debunked

"Whispers of Silence" (or Sussurri del Silenzio) is a chamber music piece built primarily around strings. It begins with a delicate melody flowing between the violin, viola, and cello, in an intimate dialogue with a deeply poetic character.
The music moves between gentle whispers and gradual crescendos, creating an atmosphere of profound reflection and human warmth.

The work reflects the power of simplicity in chamber music: the sound of strings in a small space, yet capable of opening wide horizons of emotion between longing, silence, and the moment just before revelation.

Sussurri del Silenzio

daoc Ambient (night) music remix II.mp3

BAHIA 2009

Terry Riley - A Rainbow In Curved Air Full CD (HQ)

A mix assembled for the bi-monthly Temple of Faitiche show on LYL Radio: https://lyl.live/episode/temple-of-faitiche-17/

Hi - Tech World 1984-1990

It began with ‘Kwaidan’, a simmering study on the lost art of Japanese ghost story-telling. Then there was‘Komachi’, baptized in the earthly winds and static that define its comforting sonics.

On ‘Kofū’, Meitei masterfully closes his trilogy of lost Japanese moods with an engaging interrogation of artforms and aesthetics as a provocation — or, as fashioned in the album’s subtitle, a “satire of old Japanese aesthetics”. Each entry’s distinct flavour hasearned Meitei acclaim for conjuring a bygone culture through his transportive form of ambient music. ‘Kofū’ arrives as a deconstruction of this approach. His first release with KITCHEN. LABEL, Meitei has quietly defied expectations set by his previous two albums, while continuing to challenge modern notions of Japanese sounds.

Once again, Meitei resumes his focus on a Japan that has long ceased to be. This time, ‘Kofū’ is deliberately playful in bridging a sensibility that connects this imagined past to the present. Fractured piano chords are the first to greet you on ‘Kintsugi’ before they make way for a spectral elegance that parades the haunted mask of Kwaidan on ‘Man'yō’. 

But like an ambient soothsayer schooled in the art of the 808s, Meitei quickly drives ‘Kofū’ with propulsion on ‘Oiran I’, which shares a sibling in Side B track ‘Oiran II’. On both songs, he builds tension served up by flickering hip-hop rhythms — achieved by carefully processing old drum and metal sounds — with a subversive spirit unforeseen in any of his work thus far.

Dissecting vocal recordings to the point of incomprehensibility, Meitei aims for something stirring beyond- words — not unlike J Dilla and his mountain of cut-up soul samples, or The Caretaker with decaying 78s. He abides by a principle attributed to the master Hayao Miyazaki: “Beyond logic speaks of human nature”.

‘Kofū’ allows full immersion into fragments of the past without the trappings of nostalgia. The tracklist is denoted by prominent (and unseen) figures of this history. Tracks ‘Sadayakko’ and ‘Otojirō’ are named after renowned entertainers from the Meiji era, while ‘Nyōbō’ is dedicated to a long-suffering line of working class women within a patriarchal Japanese society. The sounds of ‘Oiran’, sharing the name of the title bestowed upon courtesans, were sparked after learning about the treatment of red light district workers within this era. It paints a grim picture of baidoku (also known as syphilis) and its ravage spread.

These stories cloud the overall mood of ‘Kofū’, but Meitei takes a Mizoguchi-like approach to mould that unimaginable pain with tenderness. ‘Oiran 1’’s hidden subtitle is Hana, and ‘Oiran II’ is Shiokaze. As Meitei explains, “Hana means gorgeous and glorious. Shiokaze is the sea breeze — for her life.” Tracks like ‘Urameshi-ya’ and ‘Gen'ei’ provide a meditative space amidst the turbulence, while ‘Shōnen’ takes a turn for the cinematic. The eight-minute odyssey is engulfed by shadowy voice loops, mixed best for a headphone experience in a solitary setting.

Meitei bids farewell to an expedition first sparked by a passion for a long-forgotten cultural past. ‘Kofū’ is a definitive conclusion with an open invitation to listeners from Japan and beyond — encouraging continued appreciation of this sacred part of history, wholly untethered from the world at large.

‘Kofū’ will be released on LP, CD and across all digital formats via KITCHEN. LABEL. Chihei Hatakeyama mastered this recording in Tokyo, Japan.

Release Date:
CD, Digital - 25 Sep 2020
LP - 30 Oct 2020

Ⓟ & © 2020 KITCHEN. LABEL

Meitei - Man'yō (Kofū, 2020)

Harry Hosono 『Heavenly Music』 22.05.13

細野晴臣ニューアルバム『Heavenly Music』2013.05.22発売記念

Terry Riley - A Rainbow In Curved Air Full CD (HQ)

I am wrong

Recent comments

dzn

Related tracks