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So, it was natural to call Carsten to help. Since the beginning, Alejandro wanted to have a lot of layers of both acoustic and electronic sounds. How was Carsten Nicolai brought into the project? How did the creative process between the two of you differ from your previous collaborations? And how does Bryce Dessner fit into the picture? to watch the film and spent a lot time of talking with Alejandro about the music. The end of April this year, I had a phone call from his colleague about The Revenant. when I had a North American tour in 2010. Thank you! I met Alejandro over the phone when he was seeking to use my track “Bibo no Aozora” in his film Babel.
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We recently caught up with Sakamoto about his legacy and process, and to debut “The Revenant Main Theme.” The soundtrack is currently available for digital download, and a CD version will be available January 8, with a vinyl release via Milan Records scheduled for the spring. This month, adventurous moviegoers can hear his latest work, for Alejandro González Iñárritu’s wilderness epic The Revenant, a joint effort with frequent collaborator Carsten Nicolai (Alva Noto) featuring Bryce Dessner (The National). In 1987 his contribution to Bernardo Bertolucci’s The Last Emperor earned him an Academy Award for best original score. Lawrence, which also featured his debut as an actor. Five years later he scored his first film, Japanese provocateur Nagisa Oshima’s Merry Christmas Mr. As a member of the experimental Japanese electronic trio Yellow Magic Orchestra-colloquially, “Y.M.O.”-his sonic personality was furthered in a rich solo career, beginning with 1978’s heady Thousand Knives of Ryuichi Sakamoto. Here, Sakamoto plays with fetishised notions of Asia by interplaying a Western bassline with what sounds like a bamboo flute.At 63, renaissance man Ryuichi Sakamoto’s creative verve has shown no signs of waning despite Sakamoto being diagnosed with oropharyngeal cancer last year. The title track Merry Christmas, Mr Lawrence, for example, is centred on a single refrain, which is juxtaposed with traditional asian percussion on drums and synths.Ī lesser-known example is the track Laserman from 1989 Ridley Scott film Black Rain which follows two New York cops and a Yakuza member to 80s Japan.
Ryuichi sakamoto bibo no aozora full#
“So the music goes around the world and comes full circle.” “Asian music heavily influenced Debussy, and Debussy heavily influenced me,” the composer has said in the past. Scores for Merry Christmas, Mr Lawrence (1983) and The Last Emperor (1987) evokes the orientalism of Debussy – who Sakamoto once called “the door to all 20th-century music” – with the repetitive hooks in pop music. Like his work for synth-pop outfit Yellow Magic Orchestra, which cheerfully blended together “oriental” rhythms with Western influences like German synth pioneers Kraftwerk and 1980s poptimism, Sakamoto’s scores often combine asian melodies with Western harmonies. Here, in an act of celebration, we attempt to break down the themes and styles implicit in his music for film. Indeed, it’s this ability to evoke mood, emotion, time and place that invests Sakamoto’s film scores with a certain timelessness – just look at how his compositions are drawn from again and again by music supervisors for cinema and TV. His recent album async follows a personal narrative on his experiences of illness and ageing – themes that can also be detected in his 2015 soundtrack for The Revenant. Following his throat cancer in 2014, Sakamoto is in remission, but shows no signs of slowing down professionally.
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Between Merry Christmas, Mr Lawrence, The Last Emperor and Sheltering Sky, he has demonstrated an expansive knowledge of musical styles and genres – and the audacity and sensitivity required to heighten visual storytelling at its most epic.īut lately, the 65-year-old’s music has turned inwards. It is perhaps no surprise that his portfolio also includes an array of diverse and award-winning film soundtracks. With an oeuvre extending across genres, from synth-pop and hip-hop to post-classical and jazz, the Japanese musician’s work with influential trio Yellow Magic Orchestra brought experimental music to a mass audience, while Riot in Lagos, from 1980 album B-2 Unit, paved the way for a new generation of electro and hip-hop music. Where there is contemporary music there is Ryuichi Sakamoto. Already a member? Head to the Supporters hub. Find out more here and stay up to date with upcoming screenings. We’re screening the documentary Ryuichi Sakamoto: Coda from 16-18 July 2021.