The brief "MP" is a harrowing blast of steely noise, while the cavernous drone of "Soul Of The Dead Brother" registers as scarier than any phantom. Even when the music is busier, as in the woodwind-led "Raindrops" and "Pastoral," the essence of Sakamoto's approach remains calm reflection.īecause the bulk of Nagasaki is so subtle and reserved, the moments when Sakamoto changes course feel deeply resonant. String-based tracks "Ghost" and "Memories Of My Son - Requiem" are strong yet subdued, habitually retreating into distant quietude. In the ruminative piano pieces "How Are You?" and "Funeral," Sakamoto gives every note time to reverberate and decay before moving on to the next. The 28 tracks on Nagasaki are so patient, they can make the world seem to move in slow motion. This music unfolds slowly and quietly, suggesting that the proper way to process this story is meditative contemplation rather than rushed melodrama. Though he employs many standard soundtrack tools - swelling strings, echoing piano, mournful woodwinds - he limits them to hushed tones and reserved tempos. But what makes Nagasaki special is the way Sakamoto evokes deep feeling without easy sentiment or maudlin clichés.
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The score he created is masterfully emotional, to the point where you don't have to see the film to feel the gravity of its plot.
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Making things even heavier, this would be Sakomoto's first score since recovering from throat cancer last year. It's a heavy, heartbreaking tale, for which veteran composer Ryuichi Sakamoto was tasked with creating appropriately poignant music. Directed last year by 84-year-old legend Yoji Yamada, it stars longtime actor Sayuri Yoshinaga as a mother whose son dies in the 1945 bombing of Nagasaki and visits her as a ghost until she herself passes on. Just reading about the Japanese film Nagasaki: Memories Of My Son is enough to get you choked up. Due to his recent struggles with Oropharyngeal cancer, he is currently taking some time away from music as a necessary consequence of an untimely illness.Ryuichi Sakamoto, Nagasaki: Memories Of My Son. His works profoundly highlighted important transformations in music and has reached a wide audience, ultimately contributing to the numerous set of awards he has under his belt. He enjoys singing and writing occasionally, apart from composing stellar pieces for piano. Ryuichi Sakamoto’s brilliance and ingenuity became apparent at a very early age, shimmering itself continually through his 35-year career. Some of his recent works include his earlier solo works featured in blockbuster films like Japanese Story (2003) and Babel (2006). His incredible sense of musical direction bearing in mind the thematic contexts of these films won him several awards, all the while working on several other film scores for Tacones lejanos (High Heels) (1991), Wild Palms (1993) and Gohatto (1999).
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Lawrence (1983) and Bernardo Bertolucci’s The Last Emperor (1987). Some of his recent works were in partnership with cellist Jaques Morelenbaum and Alva Noto, with albums such as Casa (2001) and Vrioon (2002) featuring increased digital manipulation and electronic minimalism techniques.Īpart from his revered works in the music industry, Sakamoto has also worked on a number of film scores, most notably director Nagisa Oshima’s Merry Christmas Mr. Two years later, he released Discord (1998), featuring some highly electronic and intrinsically-decorated tracks that made international headlines. After collaborating on a host of albums in the early 1990s, such as Heartbeat (1991) and Sweet Revenge (1994), Sakamoto experimented with Latin music in Smoochy (1995) and 1996 (1996). Throughout the 1980s, Sakamoto began collaborating with a number of international artists, most notably composing singles such as Bamboo Houses/Bamboo Music with David Sylvian and Ikenai Rouge Magic with Kiyoshiro Imawano, the latter immediately top-charting billboards. Not long after, Sakamoto released an influential single as part of his 1980 B-2 Unit album, called Riot in Lagos, which was known to be one of the top 50 historical songs in dance music. Around the same time, Sakamoto worked on his first solo album, titled Thousand Knives of Ryuichi Sakamoto (1978), effectively blending in a host of electronic music techniques and uniquely synthesizing impressive, durable and consistent sounds. Together with some other songs of the band like Technopolis (1979) and Rydeen (1979), the band is known to have contributed significantly towards the shaping of modern genres of Electronic Pop, Hip Hop and Techno. Some of his earliest contributions came in the form of a top-charting album after the band’s name, producing some stunning singles such as Yellow Magic (Tong Poo) (1978) and Computer Game/Firecracker (1978).