Ryuichi Sakamoto Pure Best Rare
Tibetan Dance. Insensatez Ivar de Vries writes Hardly a year passes by without at least one Sakamoto compilation album. Moto.Tronic is one of the more superfluous ones, a nice varied collection but with most tracks readily available on earlier Sony releases. It might be worth purchasing for two tracks from hard to get singles, namely Lost Child and a decent remix of Discord's Anger by Rare Force. The one previously unreleased track is most interesting: Alva Noto's 'Remodel' of Insensatez by Antonio Jobim (who in turn remodelled Chopin's Prelude #4 Opus 28 for this composition). Which leads to the bonus DVD Moto.Video, whose last video features the same elegant take on Insensatez. Two others were taken from a 1988 NY concert, the inevitable Merry Christmas Mr.
Lawrence was filmed at a 1986 Media Bahn concert, plus a clip filmed when recording A Day in NY that features Morelenbaum2 singing Gilberto's piece Bim Bom. The artwork and booklet essay try to convey 'the crazy world of Ryuichi Sakamoto', it's got a picture of him wearing a James Brown button, of all people. Thanks to: Kai Seidler,Yosuke Morimoto, Ross Clement, Yue Yaguchi, Kenji Mori for info. OTHER LINKS: See my for more links about Sakamoto To Subscribe to the (Unofficial and English language) TO MAIN MENU back to page to the page on Copyright Notice! Compilation, design, and layout of this web page is copyright 2001 Nicholas D. All rights are reserved by its individual trademark/copyright holders. This web page is a product of fan appreciation and is not intended to infringe upon properties held by its rightful owners.
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- What are the best albums by Ryuichi Sakamoto? BestEverAlbums.com brings together thousands of 'greatest ever album' charts and calculates an overall ranking.
Ryuichi Sakamoto - Playing The Piano. Ryuichi Sakamoto's legions of fans will have a new special 2- CD package to savor on September 2. Decca Label Group): the two.
In March, Jlin shared her requirements for a music workshop in an Instagram post. ”There would be no equipment of any sort involved,' she said. The only thing I would want there is the person/people.” An artist who starts her work not from a sound or a hype, but from within, is a treasure, though “Black Origami” isn’t shy of showcasing the intense distress being yourself can bring.
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The production has, part of a current sent through a singularly designed conduit of footwork, and into one expressly forward motion from the self, outward. — Jordan Darville. Trio MUNA’s stomping synth anthem was not intended to be an elegy, but it became one. An ode to the sweaty refuge of LGBTQ dance floors, it was written before the 2016 shooting at Orlando’s Pulse nightclub; but in the shadow of that tragedy, its defiant commitment to joy is now moving in new, deeper ways. Vocalist Katie Gavin speaks right to the heart of her listeners, punching through the ’80s grandiosity of the instrumental.
You’re worthy, she says, and you should never be afraid. — Aimee Cliff. When A Boogie’s “Drowning” first surfaced on Twitter in February, racking up close to 6,000 retweets, it was clear that the Highbridge hitmaker had under his iced-out sleeves. The instantly recognizable Erik Satie piano sample, a frankly unnecessary feature from Atlantic labelmate and accused assaulter, Kodak Black, and an irresistible sing-a-long chorus, all contributed to the track’s platinum status in early August. It’s the Bronx streaming star’s third, and counting, plaque of its kind. — Ali Suliman.
“Come Down” sounds like the soundtrack for that uplifting moment at the conclusion of a young adventurer’s epic quest, when, mission accomplished, they head home victorious. Aptly placed toward the end of Mike WiLL Made-It’s Ransom 2, the cut features from Rae Sremmurd’s Jxmmi and Swae Lee — but the real standout is Chief Keef.
On the chorus, he assuredly sings his whole heart out about knowing exactly what he’s about at this point in his life — a high he doesn’t want to come down from. It’s a somewhat under-the-radar marker of what was a monumental bounce-back year for the young star. — Nazuk Kochhar.
No rapper in 2017 has returned from the brink as dramatically or as frequently as Young Dolph. Released after the first of two shootings he’d survive this year, Dolph’s triumph on “100 Shots” is of his predictive hustler instincts.
He’s a super-soldier emerging from the fog of a war he could have lost — and since DJ Squeeky’s beat doesn’t drop until just after the song’s halfway point, Dolph’s knowledge has the punch of a beloved general who still hasn’t cleaned the blood from his sword. By the time he raps “How the fuck you miss a whole hundred shots?” in that distinct peaking bark, Dolph has answered his own question. — Jordan Darville. A few hours after I heard “My Nose My Lips Your Head Shape” for the first time, I saw Yves Tumor perform in a Montreal church. It was a 30-minute blitzkrieg of harsh noise, the opposite of the song I heard earlier that day, but with both pieces, I felt Tumor casting invisible lines into me in the hopes of ensnaring an authentic response. “Head Shape” was the biggest catch. St. louis dentist serial killer.
It is blessed with Tumor’s loop alchemy, here a catacombs choral lit in wedding night afterglow. It's what love sounds like.
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— Jordan Darville. 2017 was the first year in recent memory when Atlanta started to feel a little less like the epicenter of rap, as SoundCloud’s viral young stars from every nook and cranny of the country rose to the forefront of the genre. But Quality Control’s latest protege, Zone 4 rapper Lil Baby, emerged as one of the city’s newest hopes with “My Dawg,” taken from his Harder Than Hard mixtape. Though he only started rapping this year, the 21-year-old’s delivery feels natural and the song’s chorus is uplifting every time. — Ben Dandridge-Lemco.
The name of Lil Durk’s clique “Only The Family” conjures a protective forcefield of loyalty, and “Make It Out” is. The best song in a revitalized 2017 for the rapper, “Make It Out” pumps poisonous betrayal through Durk’s untouchable melodies and a rich narrative reflecting on the life he’s shared with his traitor, and storm clouds now bearing over him. But there’s no trace of self-pity, as the code remains the same: “I never asked you for anything, just your honesty” Durk sings on the hook, aching for reconciliation. — Jordan Darville. Out in the Storm, Katie Crutchfield’s excellent fourth full-length as Waxahatchee, tells the nonlinear story of a romance gone wrong.
The record’s best song, “Brass Beam,” is of her ex-lover’s suffocating narcissism. Listening, you might be tempted to send the lyrics to all your friends, or at least the ones with toxic boyfriends. “I got lost in your rendition of reality,” Crutchfield remembers, her Alabama twang more audible than usual. Luckily for her — and for fans of urgent, alt-country breakup jams everywhere — she found her way out. Over two years in the making, Charly Bliss’s hook-stuffed debut album, Guppy, was well worth the wait.
All the Club-Mate sodas in the world couldn’t get me to the level Eva Hendricks is on when she sings LP opener, “Percolator” — or anything else in the band’s small but impressive repertoire, for that matter. “I think it’s cool I’m in touch with my feelings,” she quips after the shredder of a first riff.
Straight away,. Unlike songs by some of their forgotten ’90s power-pop influences, this one feels destined to stand the test of time. — Leah Mandel. Like many of Chief Keef’s best songs, “Can You Be My Friend” started out as just a snippet. In a video on his Instagram from August 2016, the Chicago rapper compulsively readjusts his fur hat and sings along passionately to the dancehall track. Keef over the swing of the bassline as he did on his pioneering drill sounds, asking, “Baby, will you take me for who I am?” before letting off his most tranquil “bang bang.” This year, the Chicago rapper showed a renewed desire to share music with his fans and “Can You Be My Friend” was a hopeful sign that he’s having fun in the studio again. — Ben Dandridge-Lemco.
A good pop song has the ability to transport you to another moment in time, and on “No Fear,” DeJ effortlessly returns us to our wide-eyed and unafraid first forays into love. That grueling butterflies-in-stomach sensation comes back with a vengeance as DeJ’s pierces through a familiar-feeling bounce, on lines like “Who would’ve thought we wouldn’t be married by now / We been true lovers since high school” and “none of the gossip, nothing can stop us.” It’s a carefree and infectious bop that gently throws us back. — Ali Suliman. At his album release show at Rough Trade, Wiki explained to a crowd of young New York City kids what exactly he means when I don't remember precisely what he said, but the gist was that it widened up his world, in good and bad and inexplicable ways — just like in the myth. On the song, he’s referring specifically to a woman he dated for a minute.
It’s hyper-personal and scrapbook-like, but if you’ve ever had one of those exhausting, mind-swirling relationships, you’ll find ways to relate to its beauty and its pain. — Leah Mandel.